Scholarly Greek composers from the 13th century until today

This represents an early iteration of Chapter 3 from my book, "Performing Orthodox Ritual in Byzantium," tracing the history of Greek Music from Antiquity through Byzantine times. It argues, most importantly, for continuity in compositional methods between the Great Dionysia and the Great Church of Hagia Sophia in Constantinople, and notes interesting coincidences between the work of tragic composer Euripides and the Greek Orthodox composer known as Koukouzeles.

2019

World Federation of Music Therapy, 2013

The traditional music of Greece is a threefold affair, engaging poetry, music and dance in narrating the history of the country through the ages. It consists mainly of compositions by unknown authors and composers, and its roots can be traced back to the byzantine period as well as the antiquity. This paper describes the Greek folk music, the traditional music instruments and traditional dances.

2013

Compositions bound separately from Thesis 1. Orestes' Chamber for soprano, oboe, guitar, re-strung guitar, prepared piano and percussion 2. erosion for solo violin 3. Andromache's Recitativo, Aria and Subtext for quarter-tone alto flute 4. Andromache's Recitativo, Aria and Subtext for alto flute 5. 12-1 Preludes for prepared piano 6. Fibonacci in a Black Hole for clarinet 7. stolen glimpses of eternity, String Quartet no. 1 8. Divine Eros for SATB choir and orchestra 9. …catharsis… for organ 8 A collection of questions compiled by the students of Aristotle, during and after Aristotle's time. A.

Zbornik Matice srpske za scenske umetnosti i muziku, 2003

Oriens, 2023

San Francisco Early Music News (April 1991), pp. 3–5., 1991

Then we went on to Greece, and the Greeks led us to the edifices where they woDhip their God, and we knew not whether we were in heaven or on eanh. For on earth there i.s no such splendor of beauty, and we are at a loss how to describe: it We know only that God dwells there among men, and their service i.s fairer that the oeiemonies ol ocher nationS. -Report of tH ~m~&ssams s.nt abtoGd by Pmta Vladimir of Kiftl i" 987 A.D. to b.tp bim cboou a MW reugio" for the Russum peopi.. 1

Bloomsbury Academic, 2021

This book discusses the relationship between Greek Orthodox ecclesiastical music and laiko (popular) song in Greece. Laiko music was long considered a lesser form of music in Greece, with rural folk music considered serious enough to carry the weight of the ideologies founded within the establishment of the contemporary Greek state. During the 1940s and 1950s, a selective exoneration of urban popular music took place, one of its most popular cases being the originating relationships between two extremely popular musical pieces: Vasilis Tsitsanis's “Synnefiasmeni Kyriaki” (Cloudy Sunday) and its descent from the hymn “Ti Ypermacho” (The Akathist Hymn). During this period the connection of these two pieces was forged in the Modern Greek conscience, led by certain key figures in the authority system of the scholarly world. Through analysis of these pieces and the surrounding contexts, Ordoulidis explores the changing role and perception of popular music in Greece.