Musicians in crisis: working and playing in the Greek popular music industry
Gespeichert in:
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| Format: | Buch |
| Sprache: | English |
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London ; New York
Routledge, Taylor & Francis Group
2021
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| Schriftenreihe: | SOAS studies in music
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| Beschreibung: | viii, 192 Seiten Illustrationen |
| ISBN: | 9781138615441 |
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| adam_text | Contents List offigures Acknowledgements vi vii 1 Introduction: doing music ethnography in Greece 1 2 Becoming a ‘Pro’: skills, strategies and success 27 3 A community of experience: intimacies, ideologies and discourses 54 4 Power and performative classes 81 5 Locating the music precariat in The Greek Crisis 112 6 Ways out: teaching, artisanship and micro-scenes 138 Epilogue: musicians (always) in crisis 163 Appendix: glossary of Greek terms Bibliography Index 167 169 186
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Index Note: numbers in italics indicate a figure. Aboriginal music and musicians (Australia) 50, 62, 78n5 Achilleas (bass player) 38-41, 45, 74-75, 89, 95, 97-100, 131 aesthetics 7,11, 23, 30, 149; and collectivities 135; cosmopolitan 97, 99; and the Crisis 154-160; and cultural capital 108; of Greek music 10, 15; as ideology 21, 71-77, 78n4; music 3, 12, 22, 49, 82, 85, 102-103,134; personal 48; popular vs pure 94, 107, 109n4; rock 12; of venues 152; of work-space 151; see also crisis-aesthetics/ethics afentikó 88, 167 Aggeliki (French hom player) 126-129, 132 Alekos (guitarist) 36, 47, 88-89 Alex (bass player) 58, 88 Alexandra (singer-songwriter) 64, 125, 134, 135, 146 Alexandras (drummer) 41, 87, 89 amateur musicians 27-28, 39, 51nl6, 117, 143, 155; see also professional musicians Anastasia (vocalist) 32-33, 91 anatolítika (tragoúdia) 10, 167 Anderson, Benedict 55 Andreatos, Gerasimos 13 Antonis (saxophone player) 57, 59, 103-108,104, 111 Armstrong, Victoria 37 artisans, musicians as 23, 138, 143, 148-151,153,165; workshops 161 Arvanitaki, Eleftheria 14 Athanasiou, Athena 114, 130, 160 Athens Tap Jam Collective 159 Athinaïkí Epitheórisi 11 Athinaïkí Kantåda Ц, 167 austerity 3, 6-8, 17, 20-21; agendas 126, 132, 134; and anti-austerity movement 127; cultural politics of 139; effects of 120-123, 151, 154, 156; in Europe 113; lives under 130,141; and music industry 109n3.112, 138; and precarity 23, 59, 113-118, 128-129,135,143,158; rejection of/resistance to 160-161; and transference 113-114; see also Crisis, The; precarity stories austerity policies 3, 113-115, 120, 122
‘autonomy’93,116,119, 141 Babis (guitarist) 38, 95, 99-101, 126, 131-133; see also Rustik Baily, John 28 Baker, Sarah 24n3, 50n4, 93, 117, 136nl0 Bakhtin, Mikhail 94 Balosso-Bardin, Cassandre ІЗбпЗ Basea, Erato 139 Bear, Laura 113, 115 Becker, Howard 24n3, 25n24, 67-68, 74, 78n7 Berlin, Germany 29, 65,136n5, 161nl Blacking, J. 53n37 Bohlman, P.V. 67 Bourdieu, Pierre 16-17, 22, 42, 52n25, 53n29, 79n25, 83-86, 94; on capital 97, 102, 106-108, 109n4; on taste 107-108 bouzoúki 14, 26, 79-80, 101, 110nl6, 167 Butler, Judith 115-116, 132,135 cafés amân 10-11 cafés chantants 10—11 capital see cultural capital; social capital Chatzipanagiotidou, Evi vii, 133 Christian, H. 37,93
Index class see social classes; performative classes Cloonan, Martin 24n3,50n4 clubs and nightclubs 1-2,45-46; closing show 68-69; and the economic recession 14; entrance fees 155, 158; 39,137nl3; gig schedules 58; Lazy, Athens 38; laiko 9, 80n26; managers 66, 83,101,106; musicians’ earnings from 50n5, 92, 119,121-122, 155; pop 24n6, 77n2, 95-97,158; rock 38; as site of musical ‘work’ 14-16; ‘stage policing’ in 70, 79n21; Tsioulakis as observer/ performer in 18,22-23, 68, 70; underground 102; see also; club owners; kéndro; magazi; mousikés skims; pista; precarity stories; skyládika club owners 91-94, 101, 106; lawsuit against 22, 106-107; see abo magazátores Cohen, Anthony 55 Coltrane, John 151 ‘community consciousness’ 55, 57 community of experience see professional musicians conservatory 144; see also music conservatory; schools; odeia cosmopolitanism 8, 8-11, 108; of the 2000s 160; and aesthetics 102; and authenticity 98; and knowledge and seniority 97-99; and music experimentation 51; and teachers 35; and world-fiision music 31 cosmopolitan imaginary 53n36, 80n29, 134, 164-165 Cottrell, Stephen 24n3, 28,37, 50n7, 52nl9, 56, 93, 137nl4 Cowan, Jane 6, 13, 25nl9 creativity 49-50, 67, 89, 92,102; and communication 117; and The Crisis 138-154,164; and experimentation 124, 135; vs work 124 crisis-aesthetics/ethics 156-158; crisisnarratives 119; ‘crisis of Greek song’ 13; crisis-scape 120, 123, 125, 154, 158, 160; crisis-subjectivities 8, 23, 124, 129, 141, 143,160; crisis-talk 8, 20; crisistimes 127 Crisis, The (Greek economic crisis since 2010) 1-3, 6-8,17, 19-23,112-136; as
creative opportunity 138,141-146, 147-155,158; crisis-aesthetics/ethics 156—158; crisis-narratives 119; ‘crisis of Greek song’ 13; crisis-scape 120,123, 187 125,154,158,160; crisis-subjectivities 8,23,124,129,141,143,160; crisis-talk 8,20; crisis-times 127; instrumentalists, impact on 107; and musicians, impact on 163-166; music scene in Athens, impact on 44,154; recording industry in Athens, impact on 14; see also precarity cultural capital 51nl3, 87,90-91,108; Bourdieu’s concept of 53n29, 83-86, 102,106,109n4; and economic capital 84, 102; and social capital 53n29,102, 109n7; value of 94,107 Dalakoglou, D. 114 Davis, Miles 152 Dawe, Kevin 8, 61 DeNora, T. 48 Despo (mandolin player) 121, 144 deviance 22, 51nl5, 66-69 Dimitriou, Antzela 13 dìmotìkó 24nl0, 31, 167 discursive resistance 94, 126 disemia 4, 10, 97; see also Herzfeld, Michael Doubleday, Veronica 66, 78nl2, 79nl3 Dueck, Byron 55-56 ekpaidefsi 50—51n8 elafro tragoúdi 11-12, 167 Éllinas (pi. Eilines) 4, 167 ellinikoúra 98-99, 167 éntechno (tragoúdi) 9, 14, 16, 25ո20, 73, 167-168, genre 27, 43, 50ոՅ, 74; singer 18, 36, 40, 48, 89; see also tragoúdi éntechno-laïkó 12, 13ո2, 24η 11 epaggelmatías mousikós 29, 167; see also professional musicians Eurovision Song Contest 14 éthnik-jazz see jazz; Lambrakis, Haris ethnomusicology 32, 49; and the ‘artisan’ 148; and deviance 67; and Greek music, studies of 3,22, 61; on musicians, professionals vs amateur 25; on musicians, social behavior of 37; on performance 18; and popular music 85, 147; and ‘resilience’ 142; and teaching and learning, processes of 143,147; and Tsioulakis
as researcher-performer 16-21,154,164,166nl; of urban Athens 8-10 European Central Bank see Troika, The European Union 51n9 exodus 23, 131, 160; see also presentism
188 Index Fabbri, Franco 16,25ո25, 50ոՅ Faubion, J.D. 6 Faulkner, Robert 24ոՅ, 28,78ո7, 93,110ո17 Feld, Steven 50ո4, 62 female emancipation in Greece 6 female singers 24nl6, 62; see also gender in music; tragoudistis Finnegan, Ruth 28, 51nl6, 52n27 Fonarow, Wendy 52n24, 69, 79nl8 Foucault, Michel 83,86,102-103,116; on ‘immediate struggles’ 109; on govemmentality 133 freedom 93,102; artistic 151; creative 140, 151,155; musical 38; musicians as virtuosos of 29,119 Frith, F. 16,25n25 gender and music 5-6, 17, 22, 30, 52n22, 57, 81,108; and the ‘artisan’ 148-149; dynamics 26n28, 51nl5; and identity 78n5; and instrumentalism 60-66, 79nl3; and masculinity 8, 64-65; and precarity 114, 118; and vulnerability 130 gender roles 34,63 George (guitarist, founder of MusicFor) 51, 144, 146-148,154 Gonidis, Stamatis 13Green, Lucy 51nl6 Gregory, Jonathan 142 Groove Geisha (band) 38-41, 52n21 Guilbault, Jocelyn 78n5 Hadjidakis, Manos 12, 24nl3 Hairopoulos, Hristos 11-12 ; see also elafró tragoúdi hardship 11,65,78n2; and exploitation 119; and the ‘mainstream’ music indushy 30,49 ‘hardship and frustration’ 22, 64, 68, 77, 126; experiences of 57-60 Haris (nei player) see Lambrakis, Haris Hassinger, J. 63, 79nl4 Herzfeld, Michael 3-4, 8, 10, 110nl4,130 Hesmondhalgh, David 24n3, 50n4, 93, 117, 136nl0 heteroglossia 94 Hiotis, Manolis 11 Hofman, Ana 24n3, 44, 50n4, 118 Holst-Warhaft, G. 24n5 Holt, Fabian vii, 25n25 Hytönen-Ng, Elina i, vii, 24n3, 152 identity 6, 60; and aesthetics 76; collective 56, 123; construction of 19; cultural 49; and ideology 74; and the imagination 77; of instrumentalists
71-72; of musicians 10, 19-22, 29-30, 49-50, 52n27, 57, 66-68, 77, 78n5, 118, 134, 142-143; perceived 62; and personhood 5; see also musical professionalism ideology 30; aesthetics as 21-22, 71-76; and behavior 56; and emotions 26n27; and experience 23; of musicians 57 improvisation: musical 1, 25, 35, 38, 40, 103; and jazz 152, 156; social 37, 102; in teaching 147 Ingold, T. 161n4 instrumentalism see gender and music instrumentalists 19, 47՛, and aesthetics 71-76; backing 10, 15, 20-21, 40, 72, 80n26, 104; ‘class’ as marker for 24n8; deviant behavior among 67-71; firing of 107; and gender 19, 60-66; hardships of 57-60; jazz 39, 43, 95, 159; as ‘informants’ 17, 19-20, 25nl7, 33, 41, 52n21, 56, 94, 119-120, 155, 158, 164-166; perception of 34; professional 22, 37-38, 77; and professional power relations 81-83, 86-95; reputation 43-44; self-taught 35; session 120, 144, 146-147; and singers 37, 44, 109n7, 110n8, 119; subaltern 20, 90, 100, 108, 157; ‘traditional’or eastern 19, 134; training of 32; ‘western’ 19; working options 48; see also jazz musicians՛, kassé; magazi; precariat; professional musicians interviews of musicians: anonymity 26n30; arranging and scheduling 41, 154;research methodology and format 19-21, 136nll; see also [musicians by name]; testimonies Ioannidis, Alkinoos 14 Jackson, Michael vii, 165 Jam Pedals workshop 151,152, 156 Jännis (guitarist) 122, 134,151,152, 156; see also Jam Pedals jazz 9, 13, 35-39, 73; American 63; ‘comping’ 23nl; curricula 51nl7; éthnik-jazz 18, 41, 50nl, 72, 156; instrumentalists 48, 95; see also Groove Geishas jazz ensembles 11,
124; trio 145 jazz festivals in Athens 27 jazz musicians 51nl7; 56; drug use by 70-71; Finnish and British 152; on ‘flow’ and ‘space’ 152-153; jam sessions among 52n22; saxophone player, life of 103-108; see also Antonis; Manolis; Panagiotis; Stathis; Themis; Vasso jazz scene: in America 79nl4; in Athens 16, 25n26, 77, 151-152,
Index 154-156, 158-159; in the United Kingdom 93 Jenkins, Richard 67 Jian, M. 78ոՅ Johnie Thin Trio, TL· (band) 157—158 John (Murma) 149,150,151,153 Johnson, Bruce 52n23 Josephides, Lisette vii, 52 Kallimopoulou, Eleni 8, 24nl4-15, 51nl0, 52nl8, 78n4, 79nl5 Kana, Melina 14 капоnäki 79η 15, 167 Kapsokavadis, Alexandras vii, 51nl0kassé 44-46,48, 81,109,167 Katerina (bassist; founder of MusicFor) 51nl6, 66, 143, 147-148 Kavouras, Pavlos 8, 52nl8 Keil, C. 8 kéndro 14, 167 Kesisoglou, Giorgos vii, 115 Kirtsoglou, E. 6 klarino 26n29, 167 Knight, Daniel M. 7,113-114, 119, 124, 126, 133, 138-139 knowledge 20-21, 60,163, 166; community 77; and competence 106; musical 36, 51nl3, 87-90,102,109n7; and power discourses of the music industry 97-100, 103. 108 ; and taste 94; and teaching 42; see also cultural capital ‘knowing’ see cultural capital Koskoff, Ellen 63,66, 79nl6 Kostas (bassist) 33, 75, 88 Kostas (guitarist) 57, 66, 68, 119,163 Koutsougera, Natalia 9 kséna 98,167 laika 14, 79n23 laika magazia 14 laiko (tragoúdi) 11, 13-14, 24nl0, 25n20, 48, 53n34, 79֊80n26, 97, 110nl6, 167 Lambrakis, Haris 1, 58-59, 73-74, 91 Lampropoúlou, Sofia 79nl5 Lazzaratto, Maurizio 140 Levidou, Katerina 139 life-narratives and life-stories of musicians 51nl4, 53n35, 86,103-108 Loizos 5, 61, 78n8 loiiloudoúdes 15, 25n23, 167 Lorey, Isabell 23, 29,78n3,113,116-117, 119, 122-123; on governmental precarization 132-133, 135,143; on presentism 160 189 Loutzaki, Irene vii, 8 loyalty 46-47 lýra 8, 61, 167 maestros 34, 66, 74-75, 80ո28, 95, 97-100,105-106,167 magazátores 86, 92, llOnlO, 137bl2; see also, club-
owners magazí (pi. magazia) 14—16, 18, 25n20, 57, 71, 75; laiko 107; payment rates 44-47; pop music 95-97; profitability of 59, Шп20; as micro community 108; as ‘shop’ 14, 77n2; social and gendered positions within 79nl7, 86 magazila 98—99, 167 maître 25n22, 167 Makedonas, Kostas 13 Malamas, Sokratis 9, 14 Manolis (guitar player) 74 Martin, Natasha 159 masculinity and music see gender and music Mauss, Marcel 42, 52n25 McClary, Susan 63 McGee, Kristin vii, 63, 162n8 McRobbie, Angela 37, 78n3,140,145 MC Yinka (rapper-bassist) 91-92 Memorandum (of Economic Policies) 120,122 Merriam, Alan 36, 56, 67-68, 78nll Michael, Despina 24n5, 81-82 Mihalis (drummer) 1-2,42, 57,87 Mike (vocalist) 126, 129-132,137nl2 Milton, Kay vii, 25n27 Monson, Ingrid 77nl Morcom, Anna 50n4, 62 morfosi 50-51ո8 mousikés skinés 14; see also clubs; magazia mousikós 19, 29-30, 60; female 62; hierarchies among 108-109; professional 86-91, 93-95; see also professional musicians; instrumentalists Mouskouri, Nana 12 Murmux synthesizer 149,150,151, 153, 157 musical competence 25, 65, 106-107; see also skill; knowledge; cultural capital musical professionalism 28, 50,161, 164; concept of 22; in Europe 67; and identity 10,19-22, 29-30,143; and the ‘mainstream’ 49; and musical performance 28-30; and “skill” 30-34; success, evidence of 45-46; three stages of 49; Tsioulakis’s experiences
190 Index of 1-3, 27-28, 44; and viability, quest for 48; and work vs play 3, 50; see also professional musicians music conservatory 27; see ako odela music ethnography 16-21 MusicFor 51 n 16, 147; see also George; Katerina musicians see amateur musicians; professional musicians Musicians’ Union 92, 122, 129 musicking see professional musicking music schools see MusicFor; odeio; schools music teaching and education 49, 138-149, 160-161; and expertise and knowledge 36, 42; as response to precarization 23,46, 104, 119,121, 125, 143-148; of traditional instruments 51nl0; as a ‘way out’ 138, 143—148; and women 64, 146 Nana (vocalist) 59 néi 1, 58-59, 72, 78n4, 91, 168 Netti, В. 64 nightclubs see clubs ‘night’ music industry 30,103-108; see also rtýhta Nikolopoulous, Christos 12 Nikos (bassist) 41-42, 59, 72, 74 rtýhta 30, 36, 65, 105, 11ІПІ9, 168 O’Brien Bernini, Leah 24n3, 142 odelo (pl. odeia) 31-36, 51nl2, 64, 168 Odeio Athinón 32 Onirama (band) 14 onómata 14, 20, 168 Ottoman Empire 4,10, 24ո9 Ottosson 50ո4, 78ո5 outi (oud) 124, 146, 168 Overing, J. 55, 76 Panou, Akis 12 Panagiotis (bass player) 75-76 Panos (percussionist) 45-46 Panourgia, Neni 24n4 Pantelis (trumpet player) 76 Papanikolaou, D. 24n5, 50n3 Paparizou, Elena 14 Papataxiarchis, Efthimios 5, 61, 78n8, 127 Papapavlou, M. 9 paradosiaká 8-9, 79nl5, 168 paragoges (pl. paragogoí) 86, 90-91, 168 parápono 165-166 Patsiaoura, Evi vii payment see kassé Pennanen, R. P. 24n9 performative classes 80ո27, 81-109 Peridis, Orfeas 14 Petros L. (bassist, Murmux) 157; Johnie Thin Trio 157; promotion video 153; workshop 149,150; see
also Murmux Petros V. (bassist) 33,45, 54, 67, 89; DJ story 71-72, 74; pista (pl. pistes) 14, 168 play-scape 135, 161; see also work vs play Ploutarhos, Yiannis 13 poiotita 13, 168; see also quality Polychronakis, loannis 9, 25nl8, 25nl9 polymusicality 52nl9,118 pop music in Greece 14, 39, 73; magazi 95-97; schools 147-148; see also Onirama (band) pop singer 25n26,100-101 popular music (playing of) in Greece 16-17, 85-86; ensembles 34; foreign 39; and genres 13-16; Greek 12-15, 35; history of 10-13; local 44; Western 14; see also music scene popular music industry in Athens 19,21-22, 53n33, 58-59, 86,105,165; gender divisions in 65-66; hierarchies of 108; solo stars, promotion of 88; viability in 46 Porcello, Thomas 65 positional suffering 108—109, 165 Poulakis, Nikos 136n8, 162n7 power and power struggles 3, 7, 22; existential 125; individualist 135; institutional 125; labour 123; negotiations 77, 85, 95-103, 106; and performative classes 81-109; reversal of power 103-108; see also Foucault, Michel power dynamics 30, 80n27, 94 power-holders in the music industry 23, 26n31, 107, 120; defying and/or challenging 102-103,130; singers as 44,88 powerlessness 17, 66, 108,136n4 power rhetoric see rhetoric precariat (musicians in Greece) 78n6, 112-136, 148 precariousness 115-117; and musical identity 123, 126,129,141; and play 135; and pleasure 29; working 50n4 precarity 17, 28-29; and austerity 156, 158; and The Crists 3, 113-118, 164-165; and creativity 142-143, 154-156; and the music profession in Greece 29, 45-46, 53, 59-60, 82, 110n9, 112, 131-132, 145, 148, 151; as norm 59,
112, 140, 155, 164;
Index post-Crisis 133-135, 139; and permanency 138; and power and ideology 21; vs precariousness 116 precarity stories 23, 113, 126-133 precarization 50, 116-117,122,133; and austerity 129, 143; 144; governmental 23, 132,135; self-precarization 119, 140; teaching as a response to 145-146 presentism 23, 160-161 ‘professional ideology’ 74-76; see also ideology professionalism see musical professionalism professional musicians 27-50, 52n27, 67-77, 81-83; ‘autonomy’of 93; ‘classes’ of 82-83; as community of experience 52n28, 60, 54-77, 135, 165; definition of 30; deviance, profile of 68-69; drug use among 70; ‘freedom’ of 29, 93,119,140; ‘hidden transcript’ of 71; ideology of 74-76; instrument 34; music genre 34-35; music preferred vs music performed 72-75; networking 46, 52n24; options available to 48-49; other professional groups, views of 86-94; payment of44-46, 81; reputation 43-44; self-conceptions 81-82, 112, 123; security 46; self-perception 22, 90, 126; self-precarization 119,140; self segregation 56; self-taught 32,35; skill, acquisition of 30-34; socio-cultural environment 35-36; social strategies and networking 36-43; status among 68; success, discourse of 43; and suffering 91, 165-166; as ‘tricksters’ 68-71; viability of 46-48; see also artisans; autonomy; deviance; freedom; identity; interviews of musicians; kasse՛, music teaching and education; mousikós: precariat; positional suffering; success; testimonies Protopsalti, Alkistis 14 quality in music 2, 13, 25n20, 72, 76, 155; aural 51nl0; in local music-making 79n24; and mutuality 135; of sound 96; of voice 87;
see also poiotita Rakopoulos, Theodoras 115, 127,160 Rapport, Nigel 55, 76, 125 rebétiko 10—12, 168 refugees 6-7, 165 Reily, Suzel vii ‘resilience’ 7, 138-139, 142 rhetoric 3, 22; class 83; of collective guilt 8; of control 152; of the Crisis 120, 127, 191 140-141; of ‘hardship and frustration’ 60, 68, 77, 78n3,119; political 13, 120, 127, 140; power 21; and practice 50; of the professional musician 64, 82, 95, 98, 108, 165; of separation 86-94; of suffering 166 rock bands 18, 95; see also Rustik rock club see clubs rock genres 48, 52nl7 rock music 9, 13, 16, 35-36; and The Crisis 154-155; and dancing 159; guitar players 51nl6, 131; imagery 69; masculine erotics of 65; rejection of 101; subcultures of 149; teaching of 147 Romios (pl. Romioî) 4, 168 Roseman, Marina vii, 63 Rouvas, Sakis 14 Rozakou, К. 136ո9 rural 5-6 Rustik (band) 95, 97, 99-103 saizón 168 Savvopoulos, Dionysis 12, 14 Scharff, Christina 50n4, 65, 118, 136n5, 142, 16ІПІ school (public) 31-33, 51nl0; music teaching jobs in 121, 146; private music 147-148 Scott, James 71 seniority 97-99 Seremetakis, Nadia 5-6, 130, 165 shame 60-62 skills (musical and performance) 17; acquisition of 34; and aesthetics 107; and creative expression 164; definition of 28-30; and deviance (social) 67-68; ‘emotional’ 118; improvisational 1; of female musicians 62, 65; professional 22, 25n26, 27, 35, 155, 158; vs ‘reputation’ 53n29; as social capital 84, 102, 120; and social dexterity 109n7; ‘soft’ 117; and strategies 23, 32, 36-43, 123, 135; and success, discourse of 43-49; see also work vs play Sissy (composer and instrumentalist)
123. 141-142 skyládika 14, 53n34, 57, 74, 168; see also clubs; magazia Small, Christopher 24n7 Small Music Theater 104 Smith, Chris 152 smyrnéiko 10, 24n9, 168; see also rebétiko social capital 53n29, 84, 87, 91,94, 102, 109n7, 120; see also Bourdieu, Pierre
192 Index social classes: lower 113; middle 113; upper 11; uneducated 24nll; working 12; see also performative classes sociality 21,112, 122, 127 Sofia (vocalist) 33 souksé 48, 168 Spartakos, Yiannis 11 stage policing 70, 79n21 Standing, Guy 132 State Experimental Music Secondary School 32 Stathis (pianist) 124, 134, 145, 154-155 Stebbins, Robert 71 Stefanos (keyboardist) 59,88,90,95,112,159 Stock, Jonathan vii Stokes, Martin vii, 16, 76, 109nl, 110n7 success: discourse of 43-49; and loyalty 46-47 suffering see positional suffering taiko dramming 79nl9 ‘Tap Jam’ 159 Tarassi, Silvia 29, 52n24, 141 Taylor, Tim 153 teaching and education see music teaching and education technikos (pl. technikoí) 168 technostalgia 153 testimonies: by musicians in Greece 59-60, 76, 81,110n9, 112-114, 123-125, 134-135,160; by rural subjects 61; on teaching 145-146; by women (musicians) 33-34, 64, 66, 136n6 theiosltheia 88, 168 Themis (violinist) 121, 124, 141, 156 Theodorakis, Mikis 12-13, 24nll Thin, Johnie see Johnie Thin Trio, The Tolis (guitarist) 33, 59, 68, 88, 163 Tragaki, Daphne vii, 9, 50n3 tragoúdi 168; tragoudistis 19, 29, 78nl0, 86, 168; tragoudiára 61—62, 78nl0; tragoudistria 62; tragoudopoiós 14, 168; see also anatolítika; dimotikó; éntechno՛, laiko transgression 70, 79ո22 ‘trickster,’ musicians as 68-71 ‘Troika, The’ (European Central Bank, European Commission and the International Monetary Fund) 7, 120 Tsitsanis, Vassilis 11 Turner, Victor 100 Tziovas, Dmitris 139,158 universities (Greek) 31-32, 51n9; and The Crisis 144,151 Vaios (bassist) 48, 112, 120, 122-123, 143 Varelopoulos,
Dimitris vii, 9, 24nl5, 50n3 Vasilis (bassist) 119 Vassilis (band leader; jazz guitarist) 1, 27 Vasso (jazz guitarist) 34, 43-44, 58, 87 Vavva, Georgia vii, 154 Virginia (vocalist) 122,133,143-144 Vitali, Eleni 13 Wenger, Etienne 60 Western Art Music 147; festivals 139; in Greece 136n8,162n7 Wetherell, Margaret 94 work vs play 2-3,15-16, 18, 21-23, 143, 164-165; as balance between necessity and enjoyment 76; final approach to 160-161; first approach to 49-50; second approach to 76-77; third approach to 135-136 Yiannis (bass player) 1 Yiannis (saxophone player) 121, 145-146, 155-156 Yiannidis, Kostas 11 Yiorgos (drummer) 33, 45,92, 124-125, 134-135, 146, 148 Bayerische Staatsbibliothek München
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Contents List offigures Acknowledgements vi vii 1 Introduction: doing music ethnography in Greece 1 2 Becoming a ‘Pro’: skills, strategies and success 27 3 A community of experience: intimacies, ideologies and discourses 54 4 Power and performative classes 81 5 Locating the music precariat in The Greek Crisis 112 6 Ways out: teaching, artisanship and micro-scenes 138 Epilogue: musicians (always) in crisis 163 Appendix: glossary of Greek terms Bibliography Index 167 169 186
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Index Note: numbers in italics indicate a figure. Aboriginal music and musicians (Australia) 50, 62, 78n5 Achilleas (bass player) 38-41, 45, 74-75, 89, 95, 97-100, 131 aesthetics 7,11, 23, 30, 149; and collectivities 135; cosmopolitan 97, 99; and the Crisis 154-160; and cultural capital 108; of Greek music 10, 15; as ideology 21, 71-77, 78n4; music 3, 12, 22, 49, 82, 85, 102-103,134; personal 48; popular vs pure 94, 107, 109n4; rock 12; of venues 152; of work-space 151; see also crisis-aesthetics/ethics afentikó 88, 167 Aggeliki (French hom player) 126-129, 132 Alekos (guitarist) 36, 47, 88-89 Alex (bass player) 58, 88 Alexandra (singer-songwriter) 64, 125, 134, 135, 146 Alexandras (drummer) 41, 87, 89 amateur musicians 27-28, 39, 51nl6, 117, 143, 155; see also professional musicians Anastasia (vocalist) 32-33, 91 anatolítika (tragoúdia) 10, 167 Anderson, Benedict 55 Andreatos, Gerasimos 13 Antonis (saxophone player) 57, 59, 103-108,104, 111 Armstrong, Victoria 37 artisans, musicians as 23, 138, 143, 148-151,153,165; workshops 161 Arvanitaki, Eleftheria 14 Athanasiou, Athena 114, 130, 160 Athens Tap Jam Collective 159 Athinaïkí Epitheórisi 11 Athinaïkí Kantåda Ц, 167 austerity 3, 6-8, 17, 20-21; agendas 126, 132, 134; and anti-austerity movement 127; cultural politics of 139; effects of 120-123, 151, 154, 156; in Europe 113; lives under 130,141; and music industry 109n3.112, 138; and precarity 23, 59, 113-118, 128-129,135,143,158; rejection of/resistance to 160-161; and transference 113-114; see also Crisis, The; precarity stories austerity policies 3, 113-115, 120, 122
‘autonomy’93,116,119, 141 Babis (guitarist) 38, 95, 99-101, 126, 131-133; see also Rustik Baily, John 28 Baker, Sarah 24n3, 50n4, 93, 117, 136nl0 Bakhtin, Mikhail 94 Balosso-Bardin, Cassandre ІЗбпЗ Basea, Erato 139 Bear, Laura 113, 115 Becker, Howard 24n3, 25n24, 67-68, 74, 78n7 Berlin, Germany 29, 65,136n5, 161nl Blacking, J. 53n37 Bohlman, P.V. 67 Bourdieu, Pierre 16-17, 22, 42, 52n25, 53n29, 79n25, 83-86, 94; on capital 97, 102, 106-108, 109n4; on taste 107-108 bouzoúki 14, 26, 79-80, 101, 110nl6, 167 Butler, Judith 115-116, 132,135 cafés amân 10-11 cafés chantants 10—11 capital see cultural capital; social capital Chatzipanagiotidou, Evi vii, 133 Christian, H. 37,93
Index class see social classes; performative classes Cloonan, Martin 24n3,50n4 clubs and nightclubs 1-2,45-46; closing show 68-69; and the economic recession 14; entrance fees 155, 158; 39,137nl3; gig schedules 58; Lazy, Athens 38; laiko 9, 80n26; managers 66, 83,101,106; musicians’ earnings from 50n5, 92, 119,121-122, 155; pop 24n6, 77n2, 95-97,158; rock 38; as site of musical ‘work’ 14-16; ‘stage policing’ in 70, 79n21; Tsioulakis as observer/ performer in 18,22-23, 68, 70; underground 102; see also; club owners; kéndro; magazi; mousikés skims; pista; precarity stories; skyládika club owners 91-94, 101, 106; lawsuit against 22, 106-107; see abo magazátores Cohen, Anthony 55 Coltrane, John 151 ‘community consciousness’ 55, 57 community of experience see professional musicians conservatory 144; see also music conservatory; schools; odeia cosmopolitanism 8, 8-11, 108; of the 2000s 160; and aesthetics 102; and authenticity 98; and knowledge and seniority 97-99; and music experimentation 51; and teachers 35; and world-fiision music 31 cosmopolitan imaginary 53n36, 80n29, 134, 164-165 Cottrell, Stephen 24n3, 28,37, 50n7, 52nl9, 56, 93, 137nl4 Cowan, Jane 6, 13, 25nl9 creativity 49-50, 67, 89, 92,102; and communication 117; and The Crisis 138-154,164; and experimentation 124, 135; vs work 124 crisis-aesthetics/ethics 156-158; crisisnarratives 119; ‘crisis of Greek song’ 13; crisis-scape 120, 123, 125, 154, 158, 160; crisis-subjectivities 8, 23, 124, 129, 141, 143,160; crisis-talk 8, 20; crisistimes 127 Crisis, The (Greek economic crisis since 2010) 1-3, 6-8,17, 19-23,112-136; as
creative opportunity 138,141-146, 147-155,158; crisis-aesthetics/ethics 156—158; crisis-narratives 119; ‘crisis of Greek song’ 13; crisis-scape 120,123, 187 125,154,158,160; crisis-subjectivities 8,23,124,129,141,143,160; crisis-talk 8,20; crisis-times 127; instrumentalists, impact on 107; and musicians, impact on 163-166; music scene in Athens, impact on 44,154; recording industry in Athens, impact on 14; see also precarity cultural capital 51nl3, 87,90-91,108; Bourdieu’s concept of 53n29, 83-86, 102,106,109n4; and economic capital 84, 102; and social capital 53n29,102, 109n7; value of 94,107 Dalakoglou, D. 114 Davis, Miles 152 Dawe, Kevin 8, 61 DeNora, T. 48 Despo (mandolin player) 121, 144 deviance 22, 51nl5, 66-69 Dimitriou, Antzela 13 dìmotìkó 24nl0, 31, 167 discursive resistance 94, 126 disemia 4, 10, 97; see also Herzfeld, Michael Doubleday, Veronica 66, 78nl2, 79nl3 Dueck, Byron 55-56 ekpaidefsi 50—51n8 elafro tragoúdi 11-12, 167 Éllinas (pi. Eilines) 4, 167 ellinikoúra 98-99, 167 éntechno (tragoúdi) 9, 14, 16, 25ո20, 73, 167-168, genre 27, 43, 50ոՅ, 74; singer 18, 36, 40, 48, 89; see also tragoúdi éntechno-laïkó 12, 13ո2, 24η 11 epaggelmatías mousikós 29, 167; see also professional musicians Eurovision Song Contest 14 éthnik-jazz see jazz; Lambrakis, Haris ethnomusicology 32, 49; and the ‘artisan’ 148; and deviance 67; and Greek music, studies of 3,22, 61; on musicians, professionals vs amateur 25; on musicians, social behavior of 37; on performance 18; and popular music 85, 147; and ‘resilience’ 142; and teaching and learning, processes of 143,147; and Tsioulakis
as researcher-performer 16-21,154,164,166nl; of urban Athens 8-10 European Central Bank see Troika, The European Union 51n9 exodus 23, 131, 160; see also presentism
188 Index Fabbri, Franco 16,25ո25, 50ոՅ Faubion, J.D. 6 Faulkner, Robert 24ոՅ, 28,78ո7, 93,110ո17 Feld, Steven 50ո4, 62 female emancipation in Greece 6 female singers 24nl6, 62; see also gender in music; tragoudistis Finnegan, Ruth 28, 51nl6, 52n27 Fonarow, Wendy 52n24, 69, 79nl8 Foucault, Michel 83,86,102-103,116; on ‘immediate struggles’ 109; on govemmentality 133 freedom 93,102; artistic 151; creative 140, 151,155; musical 38; musicians as virtuosos of 29,119 Frith, F. 16,25n25 gender and music 5-6, 17, 22, 30, 52n22, 57, 81,108; and the ‘artisan’ 148-149; dynamics 26n28, 51nl5; and identity 78n5; and instrumentalism 60-66, 79nl3; and masculinity 8, 64-65; and precarity 114, 118; and vulnerability 130 gender roles 34,63 George (guitarist, founder of MusicFor) 51, 144, 146-148,154 Gonidis, Stamatis 13Green, Lucy 51nl6 Gregory, Jonathan 142 Groove Geisha (band) 38-41, 52n21 Guilbault, Jocelyn 78n5 Hadjidakis, Manos 12, 24nl3 Hairopoulos, Hristos 11-12 ; see also elafró tragoúdi hardship 11,65,78n2; and exploitation 119; and the ‘mainstream’ music indushy 30,49 ‘hardship and frustration’ 22, 64, 68, 77, 126; experiences of 57-60 Haris (nei player) see Lambrakis, Haris Hassinger, J. 63, 79nl4 Herzfeld, Michael 3-4, 8, 10, 110nl4,130 Hesmondhalgh, David 24n3, 50n4, 93, 117, 136nl0 heteroglossia 94 Hiotis, Manolis 11 Hofman, Ana 24n3, 44, 50n4, 118 Holst-Warhaft, G. 24n5 Holt, Fabian vii, 25n25 Hytönen-Ng, Elina i, vii, 24n3, 152 identity 6, 60; and aesthetics 76; collective 56, 123; construction of 19; cultural 49; and ideology 74; and the imagination 77; of instrumentalists
71-72; of musicians 10, 19-22, 29-30, 49-50, 52n27, 57, 66-68, 77, 78n5, 118, 134, 142-143; perceived 62; and personhood 5; see also musical professionalism ideology 30; aesthetics as 21-22, 71-76; and behavior 56; and emotions 26n27; and experience 23; of musicians 57 improvisation: musical 1, 25, 35, 38, 40, 103; and jazz 152, 156; social 37, 102; in teaching 147 Ingold, T. 161n4 instrumentalism see gender and music instrumentalists 19, 47՛, and aesthetics 71-76; backing 10, 15, 20-21, 40, 72, 80n26, 104; ‘class’ as marker for 24n8; deviant behavior among 67-71; firing of 107; and gender 19, 60-66; hardships of 57-60; jazz 39, 43, 95, 159; as ‘informants’ 17, 19-20, 25nl7, 33, 41, 52n21, 56, 94, 119-120, 155, 158, 164-166; perception of 34; professional 22, 37-38, 77; and professional power relations 81-83, 86-95; reputation 43-44; self-taught 35; session 120, 144, 146-147; and singers 37, 44, 109n7, 110n8, 119; subaltern 20, 90, 100, 108, 157; ‘traditional’or eastern 19, 134; training of 32; ‘western’ 19; working options 48; see also jazz musicians՛, kassé; magazi; precariat; professional musicians interviews of musicians: anonymity 26n30; arranging and scheduling 41, 154;research methodology and format 19-21, 136nll; see also [musicians by name]; testimonies Ioannidis, Alkinoos 14 Jackson, Michael vii, 165 Jam Pedals workshop 151,152, 156 Jännis (guitarist) 122, 134,151,152, 156; see also Jam Pedals jazz 9, 13, 35-39, 73; American 63; ‘comping’ 23nl; curricula 51nl7; éthnik-jazz 18, 41, 50nl, 72, 156; instrumentalists 48, 95; see also Groove Geishas jazz ensembles 11,
124; trio 145 jazz festivals in Athens 27 jazz musicians 51nl7; 56; drug use by 70-71; Finnish and British 152; on ‘flow’ and ‘space’ 152-153; jam sessions among 52n22; saxophone player, life of 103-108; see also Antonis; Manolis; Panagiotis; Stathis; Themis; Vasso jazz scene: in America 79nl4; in Athens 16, 25n26, 77, 151-152,
Index 154-156, 158-159; in the United Kingdom 93 Jenkins, Richard 67 Jian, M. 78ոՅ Johnie Thin Trio, TL· (band) 157—158 John (Murma) 149,150,151,153 Johnson, Bruce 52n23 Josephides, Lisette vii, 52 Kallimopoulou, Eleni 8, 24nl4-15, 51nl0, 52nl8, 78n4, 79nl5 Kana, Melina 14 капоnäki 79η 15, 167 Kapsokavadis, Alexandras vii, 51nl0kassé 44-46,48, 81,109,167 Katerina (bassist; founder of MusicFor) 51nl6, 66, 143, 147-148 Kavouras, Pavlos 8, 52nl8 Keil, C. 8 kéndro 14, 167 Kesisoglou, Giorgos vii, 115 Kirtsoglou, E. 6 klarino 26n29, 167 Knight, Daniel M. 7,113-114, 119, 124, 126, 133, 138-139 knowledge 20-21, 60,163, 166; community 77; and competence 106; musical 36, 51nl3, 87-90,102,109n7; and power discourses of the music industry 97-100, 103. 108 ; and taste 94; and teaching 42; see also cultural capital ‘knowing’ see cultural capital Koskoff, Ellen 63,66, 79nl6 Kostas (bassist) 33, 75, 88 Kostas (guitarist) 57, 66, 68, 119,163 Koutsougera, Natalia 9 kséna 98,167 laika 14, 79n23 laika magazia 14 laiko (tragoúdi) 11, 13-14, 24nl0, 25n20, 48, 53n34, 79֊80n26, 97, 110nl6, 167 Lambrakis, Haris 1, 58-59, 73-74, 91 Lampropoúlou, Sofia 79nl5 Lazzaratto, Maurizio 140 Levidou, Katerina 139 life-narratives and life-stories of musicians 51nl4, 53n35, 86,103-108 Loizos 5, 61, 78n8 loiiloudoúdes 15, 25n23, 167 Lorey, Isabell 23, 29,78n3,113,116-117, 119, 122-123; on governmental precarization 132-133, 135,143; on presentism 160 189 Loutzaki, Irene vii, 8 loyalty 46-47 lýra 8, 61, 167 maestros 34, 66, 74-75, 80ո28, 95, 97-100,105-106,167 magazátores 86, 92, llOnlO, 137bl2; see also, club-
owners magazí (pi. magazia) 14—16, 18, 25n20, 57, 71, 75; laiko 107; payment rates 44-47; pop music 95-97; profitability of 59, Шп20; as micro community 108; as ‘shop’ 14, 77n2; social and gendered positions within 79nl7, 86 magazila 98—99, 167 maître 25n22, 167 Makedonas, Kostas 13 Malamas, Sokratis 9, 14 Manolis (guitar player) 74 Martin, Natasha 159 masculinity and music see gender and music Mauss, Marcel 42, 52n25 McClary, Susan 63 McGee, Kristin vii, 63, 162n8 McRobbie, Angela 37, 78n3,140,145 MC Yinka (rapper-bassist) 91-92 Memorandum (of Economic Policies) 120,122 Merriam, Alan 36, 56, 67-68, 78nll Michael, Despina 24n5, 81-82 Mihalis (drummer) 1-2,42, 57,87 Mike (vocalist) 126, 129-132,137nl2 Milton, Kay vii, 25n27 Monson, Ingrid 77nl Morcom, Anna 50n4, 62 morfosi 50-51ո8 mousikés skinés 14; see also clubs; magazia mousikós 19, 29-30, 60; female 62; hierarchies among 108-109; professional 86-91, 93-95; see also professional musicians; instrumentalists Mouskouri, Nana 12 Murmux synthesizer 149,150,151, 153, 157 musical competence 25, 65, 106-107; see also skill; knowledge; cultural capital musical professionalism 28, 50,161, 164; concept of 22; in Europe 67; and identity 10,19-22, 29-30,143; and the ‘mainstream’ 49; and musical performance 28-30; and “skill” 30-34; success, evidence of 45-46; three stages of 49; Tsioulakis’s experiences
190 Index of 1-3, 27-28, 44; and viability, quest for 48; and work vs play 3, 50; see also professional musicians music conservatory 27; see ako odela music ethnography 16-21 MusicFor 51 n 16, 147; see also George; Katerina musicians see amateur musicians; professional musicians Musicians’ Union 92, 122, 129 musicking see professional musicking music schools see MusicFor; odeio; schools music teaching and education 49, 138-149, 160-161; and expertise and knowledge 36, 42; as response to precarization 23,46, 104, 119,121, 125, 143-148; of traditional instruments 51nl0; as a ‘way out’ 138, 143—148; and women 64, 146 Nana (vocalist) 59 néi 1, 58-59, 72, 78n4, 91, 168 Netti, В. 64 nightclubs see clubs ‘night’ music industry 30,103-108; see also rtýhta Nikolopoulous, Christos 12 Nikos (bassist) 41-42, 59, 72, 74 rtýhta 30, 36, 65, 105, 11ІПІ9, 168 O’Brien Bernini, Leah 24n3, 142 odelo (pl. odeia) 31-36, 51nl2, 64, 168 Odeio Athinón 32 Onirama (band) 14 onómata 14, 20, 168 Ottoman Empire 4,10, 24ո9 Ottosson 50ո4, 78ո5 outi (oud) 124, 146, 168 Overing, J. 55, 76 Panou, Akis 12 Panagiotis (bass player) 75-76 Panos (percussionist) 45-46 Panourgia, Neni 24n4 Pantelis (trumpet player) 76 Papanikolaou, D. 24n5, 50n3 Paparizou, Elena 14 Papataxiarchis, Efthimios 5, 61, 78n8, 127 Papapavlou, M. 9 paradosiaká 8-9, 79nl5, 168 paragoges (pl. paragogoí) 86, 90-91, 168 parápono 165-166 Patsiaoura, Evi vii payment see kassé Pennanen, R. P. 24n9 performative classes 80ո27, 81-109 Peridis, Orfeas 14 Petros L. (bassist, Murmux) 157; Johnie Thin Trio 157; promotion video 153; workshop 149,150; see
also Murmux Petros V. (bassist) 33,45, 54, 67, 89; DJ story 71-72, 74; pista (pl. pistes) 14, 168 play-scape 135, 161; see also work vs play Ploutarhos, Yiannis 13 poiotita 13, 168; see also quality Polychronakis, loannis 9, 25nl8, 25nl9 polymusicality 52nl9,118 pop music in Greece 14, 39, 73; magazi 95-97; schools 147-148; see also Onirama (band) pop singer 25n26,100-101 popular music (playing of) in Greece 16-17, 85-86; ensembles 34; foreign 39; and genres 13-16; Greek 12-15, 35; history of 10-13; local 44; Western 14; see also music scene popular music industry in Athens 19,21-22, 53n33, 58-59, 86,105,165; gender divisions in 65-66; hierarchies of 108; solo stars, promotion of 88; viability in 46 Porcello, Thomas 65 positional suffering 108—109, 165 Poulakis, Nikos 136n8, 162n7 power and power struggles 3, 7, 22; existential 125; individualist 135; institutional 125; labour 123; negotiations 77, 85, 95-103, 106; and performative classes 81-109; reversal of power 103-108; see also Foucault, Michel power dynamics 30, 80n27, 94 power-holders in the music industry 23, 26n31, 107, 120; defying and/or challenging 102-103,130; singers as 44,88 powerlessness 17, 66, 108,136n4 power rhetoric see rhetoric precariat (musicians in Greece) 78n6, 112-136, 148 precariousness 115-117; and musical identity 123, 126,129,141; and play 135; and pleasure 29; working 50n4 precarity 17, 28-29; and austerity 156, 158; and The Crists 3, 113-118, 164-165; and creativity 142-143, 154-156; and the music profession in Greece 29, 45-46, 53, 59-60, 82, 110n9, 112, 131-132, 145, 148, 151; as norm 59,
112, 140, 155, 164;
Index post-Crisis 133-135, 139; and permanency 138; and power and ideology 21; vs precariousness 116 precarity stories 23, 113, 126-133 precarization 50, 116-117,122,133; and austerity 129, 143; 144; governmental 23, 132,135; self-precarization 119, 140; teaching as a response to 145-146 presentism 23, 160-161 ‘professional ideology’ 74-76; see also ideology professionalism see musical professionalism professional musicians 27-50, 52n27, 67-77, 81-83; ‘autonomy’of 93; ‘classes’ of 82-83; as community of experience 52n28, 60, 54-77, 135, 165; definition of 30; deviance, profile of 68-69; drug use among 70; ‘freedom’ of 29, 93,119,140; ‘hidden transcript’ of 71; ideology of 74-76; instrument 34; music genre 34-35; music preferred vs music performed 72-75; networking 46, 52n24; options available to 48-49; other professional groups, views of 86-94; payment of44-46, 81; reputation 43-44; self-conceptions 81-82, 112, 123; security 46; self-perception 22, 90, 126; self-precarization 119,140; self segregation 56; self-taught 32,35; skill, acquisition of 30-34; socio-cultural environment 35-36; social strategies and networking 36-43; status among 68; success, discourse of 43; and suffering 91, 165-166; as ‘tricksters’ 68-71; viability of 46-48; see also artisans; autonomy; deviance; freedom; identity; interviews of musicians; kasse՛, music teaching and education; mousikós: precariat; positional suffering; success; testimonies Protopsalti, Alkistis 14 quality in music 2, 13, 25n20, 72, 76, 155; aural 51nl0; in local music-making 79n24; and mutuality 135; of sound 96; of voice 87;
see also poiotita Rakopoulos, Theodoras 115, 127,160 Rapport, Nigel 55, 76, 125 rebétiko 10—12, 168 refugees 6-7, 165 Reily, Suzel vii ‘resilience’ 7, 138-139, 142 rhetoric 3, 22; class 83; of collective guilt 8; of control 152; of the Crisis 120, 127, 191 140-141; of ‘hardship and frustration’ 60, 68, 77, 78n3,119; political 13, 120, 127, 140; power 21; and practice 50; of the professional musician 64, 82, 95, 98, 108, 165; of separation 86-94; of suffering 166 rock bands 18, 95; see also Rustik rock club see clubs rock genres 48, 52nl7 rock music 9, 13, 16, 35-36; and The Crisis 154-155; and dancing 159; guitar players 51nl6, 131; imagery 69; masculine erotics of 65; rejection of 101; subcultures of 149; teaching of 147 Romios (pl. Romioî) 4, 168 Roseman, Marina vii, 63 Rouvas, Sakis 14 Rozakou, К. 136ո9 rural 5-6 Rustik (band) 95, 97, 99-103 saizón 168 Savvopoulos, Dionysis 12, 14 Scharff, Christina 50n4, 65, 118, 136n5, 142, 16ІПІ school (public) 31-33, 51nl0; music teaching jobs in 121, 146; private music 147-148 Scott, James 71 seniority 97-99 Seremetakis, Nadia 5-6, 130, 165 shame 60-62 skills (musical and performance) 17; acquisition of 34; and aesthetics 107; and creative expression 164; definition of 28-30; and deviance (social) 67-68; ‘emotional’ 118; improvisational 1; of female musicians 62, 65; professional 22, 25n26, 27, 35, 155, 158; vs ‘reputation’ 53n29; as social capital 84, 102, 120; and social dexterity 109n7; ‘soft’ 117; and strategies 23, 32, 36-43, 123, 135; and success, discourse of 43-49; see also work vs play Sissy (composer and instrumentalist)
123. 141-142 skyládika 14, 53n34, 57, 74, 168; see also clubs; magazia Small, Christopher 24n7 Small Music Theater 104 Smith, Chris 152 smyrnéiko 10, 24n9, 168; see also rebétiko social capital 53n29, 84, 87, 91,94, 102, 109n7, 120; see also Bourdieu, Pierre
192 Index social classes: lower 113; middle 113; upper 11; uneducated 24nll; working 12; see also performative classes sociality 21,112, 122, 127 Sofia (vocalist) 33 souksé 48, 168 Spartakos, Yiannis 11 stage policing 70, 79n21 Standing, Guy 132 State Experimental Music Secondary School 32 Stathis (pianist) 124, 134, 145, 154-155 Stebbins, Robert 71 Stefanos (keyboardist) 59,88,90,95,112,159 Stock, Jonathan vii Stokes, Martin vii, 16, 76, 109nl, 110n7 success: discourse of 43-49; and loyalty 46-47 suffering see positional suffering taiko dramming 79nl9 ‘Tap Jam’ 159 Tarassi, Silvia 29, 52n24, 141 Taylor, Tim 153 teaching and education see music teaching and education technikos (pl. technikoí) 168 technostalgia 153 testimonies: by musicians in Greece 59-60, 76, 81,110n9, 112-114, 123-125, 134-135,160; by rural subjects 61; on teaching 145-146; by women (musicians) 33-34, 64, 66, 136n6 theiosltheia 88, 168 Themis (violinist) 121, 124, 141, 156 Theodorakis, Mikis 12-13, 24nll Thin, Johnie see Johnie Thin Trio, The Tolis (guitarist) 33, 59, 68, 88, 163 Tragaki, Daphne vii, 9, 50n3 tragoúdi 168; tragoudistis 19, 29, 78nl0, 86, 168; tragoudiára 61—62, 78nl0; tragoudistria 62; tragoudopoiós 14, 168; see also anatolítika; dimotikó; éntechno՛, laiko transgression 70, 79ո22 ‘trickster,’ musicians as 68-71 ‘Troika, The’ (European Central Bank, European Commission and the International Monetary Fund) 7, 120 Tsitsanis, Vassilis 11 Turner, Victor 100 Tziovas, Dmitris 139,158 universities (Greek) 31-32, 51n9; and The Crisis 144,151 Vaios (bassist) 48, 112, 120, 122-123, 143 Varelopoulos,
Dimitris vii, 9, 24nl5, 50n3 Vasilis (bassist) 119 Vassilis (band leader; jazz guitarist) 1, 27 Vasso (jazz guitarist) 34, 43-44, 58, 87 Vavva, Georgia vii, 154 Virginia (vocalist) 122,133,143-144 Vitali, Eleni 13 Wenger, Etienne 60 Western Art Music 147; festivals 139; in Greece 136n8,162n7 Wetherell, Margaret 94 work vs play 2-3,15-16, 18, 21-23, 143, 164-165; as balance between necessity and enjoyment 76; final approach to 160-161; first approach to 49-50; second approach to 76-77; third approach to 135-136 Yiannis (bass player) 1 Yiannis (saxophone player) 121, 145-146, 155-156 Yiannidis, Kostas 11 Yiorgos (drummer) 33, 45,92, 124-125, 134-135, 146, 148 Bayerische Staatsbibliothek München |
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| any_adam_object_boolean | 1 |
| author | Tsioulakis, Ioannis |
| author_GND | (DE-588)1028021143 |
| author_facet | Tsioulakis, Ioannis |
| author_role | aut |
| author_sort | Tsioulakis, Ioannis |
| author_variant | i t it |
| building | Verbundindex |
| bvnumber | BV047195454 |
| classification_rvk | LQ 88608 |
| ctrlnum | (OCoLC)1249659352 (DE-599)BVBBV047195454 |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| era | Geschichte 2005-2017 gnd |
| era_facet | Geschichte 2005-2017 |
| format | Book |
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| genre_facet | Bibliografie |
| geographic | Athen (DE-588)4003366-1 gnd |
| geographic_facet | Athen |
| id | DE-604.BV047195454 |
| illustrated | Illustrated |
| index_date | 2024-07-03T16:49:35Z |
| indexdate | 2024-07-10T09:05:18Z |
| institution | BVB |
| isbn | 9781138615441 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032600572 |
| oclc_num | 1249659352 |
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| owner_facet | DE-12 DE-20 |
| physical | viii, 192 Seiten Illustrationen |
| psigel | BSB_NED_20210423 |
| publishDate | 2021 |
| publishDateSearch | 2021 |
| publishDateSort | 2021 |
| publisher | Routledge, Taylor & Francis Group |
| record_format | marc |
| series2 | SOAS studies in music |
| spelling | Tsioulakis, Ioannis Verfasser (DE-588)1028021143 aut Musicians in crisis working and playing in the Greek popular music industry Ioannis Tsioulakis London ; New York Routledge, Taylor & Francis Group 2021 viii, 192 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier SOAS studies in music Geschichte 2005-2017 gnd rswk-swf Soziale Situation (DE-588)4077575-6 gnd rswk-swf Volksmusik (DE-588)4063854-6 gnd rswk-swf Wirtschaftskrise (DE-588)4066466-1 gnd rswk-swf Wirtschaftliche Lage (DE-588)4248362-1 gnd rswk-swf Musikwirtschaft (DE-588)4268614-3 gnd rswk-swf Athen (DE-588)4003366-1 gnd rswk-swf Music trade / Greece / History / 21st century Popular music / Greece / 2001-2010 Popular music / Greece / 2011-2020 Music trade Popular music Greece 2000-2099 History (DE-588)4006432-3 Bibliografie gnd-content Athen (DE-588)4003366-1 g Volksmusik (DE-588)4063854-6 s Musikwirtschaft (DE-588)4268614-3 s Soziale Situation (DE-588)4077575-6 s Wirtschaftliche Lage (DE-588)4248362-1 s Wirtschaftskrise (DE-588)4066466-1 s Geschichte 2005-2017 z DE-604 Erscheint auch als Online-Ausgabe, ebk. 978-0-429-46309-9 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032600572&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032600572&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032600572&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Tsioulakis, Ioannis Musicians in crisis working and playing in the Greek popular music industry Soziale Situation (DE-588)4077575-6 gnd Volksmusik (DE-588)4063854-6 gnd Wirtschaftskrise (DE-588)4066466-1 gnd Wirtschaftliche Lage (DE-588)4248362-1 gnd Musikwirtschaft (DE-588)4268614-3 gnd |
| subject_GND | (DE-588)4077575-6 (DE-588)4063854-6 (DE-588)4066466-1 (DE-588)4248362-1 (DE-588)4268614-3 (DE-588)4003366-1 (DE-588)4006432-3 |
| title | Musicians in crisis working and playing in the Greek popular music industry |
| title_auth | Musicians in crisis working and playing in the Greek popular music industry |
| title_exact_search | Musicians in crisis working and playing in the Greek popular music industry |
| title_exact_search_txtP | Musicians in crisis working and playing in the Greek popular music industry |
| title_full | Musicians in crisis working and playing in the Greek popular music industry Ioannis Tsioulakis |
| title_fullStr | Musicians in crisis working and playing in the Greek popular music industry Ioannis Tsioulakis |
| title_full_unstemmed | Musicians in crisis working and playing in the Greek popular music industry Ioannis Tsioulakis |
| title_short | Musicians in crisis |
| title_sort | musicians in crisis working and playing in the greek popular music industry |
| title_sub | working and playing in the Greek popular music industry |
| topic | Soziale Situation (DE-588)4077575-6 gnd Volksmusik (DE-588)4063854-6 gnd Wirtschaftskrise (DE-588)4066466-1 gnd Wirtschaftliche Lage (DE-588)4248362-1 gnd Musikwirtschaft (DE-588)4268614-3 gnd |
| topic_facet | Soziale Situation Volksmusik Wirtschaftskrise Wirtschaftliche Lage Musikwirtschaft Athen Bibliografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032600572&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032600572&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032600572&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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