Crisis Concealing Light
Keywords:
democracy, communism, music education, avant-garde musicAbstract
In this article I discuss the blossoming of musical life in Greece that begun in 1974, simultaneously with the growth of the debt crisis. Communist musicians returned from exile and they were hailed as heroes while their music became indispensible to pre-electoral gatherings. Connected to the return to democracy, music and musicians became extremely important to politicians and loved by the people, and were offered a substantial portion of the money that poured in from the EU. Cold War cultural politics played their role in promoting avant-garde music as well. In comparison, today Greece has a great number of excellent musicians and the architectural infrastructure for the performance and study of music, but these are concealed by the daily hammering of crisis news.
Downloads
References
Deliège, C. (2003) Cinquante ans de modernité musicale. De Darmstadt à l’ Ircam. Contribution historiographique à une musicologie critique, Sprimont: Mardaga
Fourlanou E. (2015) “To Megaro Mousikes Athenon: Mia gefyra anamesa sten techne kai ten ekpaideuse” [The Athens Concert Hall: Bridging art and education], Polyphonia 26: 166–177.
Hapsoulas, A. (2015) “Entechne dytike mousike kai ellenike mousike ekpaideuse: Krise kai prooptikes” [Western art music and Greek music education: Crisis and prospects] Polyphonia 26: 82–95.
Kallergi-Panopoulou, A. (2015) “Idiotika odeia kai mousika scholeia sten Ellada: Mia synkritike melete ton vasikon foreon mousikes ekpaideuses kata ten periodo tes oikonomikes krises” [Private conservatories and music schools in Greece: A comparative study of the principal institutions of music education during the economic crisis], Polyphonia 26: 156–165.
Kavouras, P. (2015) “E entechne dytike mousike sten periodo tes krises: Mia diepistemonike melete tou synchronou ellenikou politismou kai tes europaikes olokleroses” [Western art music at the time of crisis: An interdisciplinary study of contemporary Greek culture and European integration], Polyphonia 26: 7–64.
Levidou, K. (2015) “Epivionontas sten krise: Therina festival entechnes dytikes mousikes” [Surviving the crisis: Summer festivals of Western art music in contemporary Greece], Polyphonia 26: 124–155.
Mallouhos, D. (2015) “O choros tes klassikes mousikes sten Kalamata sta chronia tes oikonomikes krises” [Classical music in Kalamata at the time of the economic crisis], Polyphonia 26: 193–208.
Manouselis, G. (2015) “Epi to ‘Ergon’: Mia apotypose ton allagon sten politike oikonomia tes entechnes dytikes mousikes meso tou paradeigmatos tou Ergon Ensemble” [The Ergon at work: Mapping changes in the political economy of Western art music through the case study of the Ergon Ensemble], Polyphonia 26: 179–192.
Mazower, M. (1994) Stēn Ellada tou Hitler. Ē Empeiria tēs Katochēs [Inside Hitler’s Greece. The Experience of Occupation, 1941-44], transl. by K. Kouremenos, Athens: Alexandria Publications.
Michaēl, Ch. (2003) O teleutaios antistasiakos. Autobiographia [The last partisan. Autobiography], transcribed and edited by G. Skoukēs, Athens: Bibliothēkē tou Nautilou.
Poulakis, N. (2015) “Thesmoi se krise: Mousika synola kai politistikoi organismoi sten Ellada tou 21ou aiona” [Institutions in crisis? Music ensembles and cultural organisations in 21st century Greece], Polyphonia 26: 96–123.
Samson, J. (2015) “Mousike se krise: themeliodeis oroi kai ennoies” [Music in crisis: Key terms and concepts], Polyphonia 26: 65–72.
Vavva, G. (2015) “E entechne dytike mousike sten ‘koinoteta’: E periptose tou Mousikou Choriou” [Western art music in the “community”: The case of the Music Village], Polyphonia 26: 209–223.
Willson, R. (2015) “Ena reusto programma: Anichneuontas grammes, eterogeneies kai allelepidraseis” [A project in flux: Tracing lines, heterogeneities and interactions], Polyphonia 26: 73–81.
Downloads
Published
Issue
Section
License
Copyright (c) 2016 MUZIKOLOGIJA-MUSICOLOGY

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License.
You are free to:
- Share — copy and redistribute the material in any medium or format.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Ауторство — You must give appropriate credit, provide a link to the license, and indicate if changes were made.
You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. -
Некомерцијално — You may not use the material for commercial purposes.
-
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.