Minotaurs or musonauts? ‘World Music’ and Cretan Music
Identifieur interne : 000828 ( Istex/Corpus ); précédent : 000827; suivant : 000829Minotaurs or musonauts? ‘World Music’ and Cretan Music
Auteurs : Kevin DaweSource :
- Popular Music [ 0261-1430 ] ; 1999-05.
Abstract
In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.
Url:
DOI: 10.1017/S0261143000009053
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Mus.</title><idno type="ISSN">0261-1430</idno><idno type="eISSN">1474-0095</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1999-05">1999-05</date><biblScope unit="volume">18</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="209">209</biblScope><biblScope unit="page" to="225">225</biblScope></imprint><idno type="ISSN">0261-1430</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0261-1430</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Kevin Dawe</name></json:item></author><articleId><json:string>00905</json:string></articleId><arkIstex>ark:/67375/6GQ-ZXR9B8Z9-H</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. 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Mus.</title><idno type="pISSN">0261-1430</idno><idno type="eISSN">1474-0095</idno><idno type="publisher-id">PMU</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1999-05"></date><biblScope unit="volume">18</biblScope><biblScope unit="issue">2</biblScope><biblScope unit="page" from="209">209</biblScope><biblScope unit="page" to="225">225</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1999</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="text-abstract"><p>In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.</p></abstract></profileDesc><revisionDesc><change when="1999-05">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">PMU</journal-id><journal-title>Popular Music</journal-title><abbrev-journal-title>Pop. Mus.</abbrev-journal-title><issn pub-type="ppub">0261-1430</issn><issn pub-type="epub">1474-0095</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0261143000009053</article-id><article-id pub-id-type="pii">S0261143000009053</article-id><article-id pub-id-type="publisher-id">00905</article-id><title-group><article-title>Minotaurs or musonauts?<xref ref-type="fn" rid="fn01">1</xref> ‘World Music’ and Cretan Music</article-title><alt-title alt-title-type="left-running">Kevin Dawe</alt-title><alt-title alt-title-type="right-running">‘World Music’ and Cretan Music</alt-title><fn-group><fn id="fn01" symbol="1"><label>1</label><p>Parts of this paper were first read at the Annual Conference of the British Forum for Ethnomusicology, 28–30 March 1996. I wish to thank colleagues for their many valuable comments.</p></fn></fn-group></title-group><contrib-group><contrib><name><surname>Dawe</surname><given-names>Kevin</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><month>05</month><year>1999</year></pub-date><volume>18</volume><issue>2</issue><fpage seq="7">209</fpage><lpage>225</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1999</copyright-statement><copyright-year>1999</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>In a recent issue of <italic>Popular Music</italic> devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.</p></abstract><counts><page-count count="17"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0261143000009053a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Articles</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><ref-list><title>References</title><ref><citation id="ref001" citation-type="book"><name><surname>Appadurai</surname><given-names>A.</given-names></name> <year>1990</year>. ‘Disjuncture and difference in the global cultural economy’, in <source>Global Culture</source>, ed. <name><surname>Featherstone</surname><given-names>M.</given-names></name> (<publisher-loc>London</publisher-loc>), pp. <fpage>295</fpage>–<lpage>310</lpage></citation></ref><ref><citation id="ref002" citation-type="thesis"><name><surname>Dawe</surname><given-names>K.</given-names></name> <year>1994</year>. ‘Performance and entrepreneurialism: the work of professional musicians in Crete’. Unpublished PhD thesis in Social Anthropology (Ethnomusicology), <publisher-name>The Queen's University of Belfast</publisher-name></citation></ref><ref><citation id="ref003" citation-type="journal"><name><surname>Dawe</surname><given-names>K.</given-names></name> <year>1996</year>. ‘<article-title>The engendered <italic>lyra</italic>: music, poetry and manhood in Crete</article-title>’, <source>British Journal of Ethnomusicology</source>, <volume>5</volume>, pp. <fpage>93</fpage>–<lpage>112</lpage></citation></ref><ref><citation id="ref004" citation-type="book"><name><surname>de Pina-Cabral</surname><given-names>J.</given-names></name> and <name><surname>Campbell</surname><given-names>J.</given-names></name> (eds) <year>1992</year>. <source>Europe Observed</source> (<publisher-loc>London</publisher-loc>)</citation></ref><ref><citation id="ref005" citation-type="other"><name><surname>Donnan</surname><given-names>H.</given-names></name> and <name><surname>Wilson</surname><given-names>T.</given-names></name> <year>1994</year>. <italic>Border Approaches: Anthropological Perspectives on Frontiers</italic></citation></ref><ref><citation id="ref006" citation-type="book"><name><surname>Durrell</surname><given-names>L.</given-names></name> <year>1961</year> (<year>1947</year>). <source>The Dark Labyrinth</source> (<publisher-loc>London</publisher-loc>)</citation></ref><ref><citation id="ref007" citation-type="book"><name><surname>Featherstone</surname><given-names>M.</given-names></name> (ed.) <source>Global Culture: Nationalism, Globalisation and Modernity</source> (<publisher-loc>London</publisher-loc>)</citation></ref><ref><citation id="ref008" citation-type="book"><name><surname>Frith</surname><given-names>S.</given-names></name> (ed.) 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In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.</abstract><relatedItem type="host"><titleInfo><title>Popular Music</title></titleInfo><titleInfo type="abbreviated"><title>Pop. 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