Euterpe, the Muse of Music: Women’s Position as Seen through Folklore Songs and Dances (Nineteenth to Early Twentieth Centuries)

Thanailaki, Polly

doi:10.1007/978-3-319-75235-8_6

Polly Thanailaki²

301 Accesses

Abstract

The present chapter focuses on rural women’s social presence and participation through dance and vocal performances. These two elements served as the best vehicles for asserting their roles and for shaping their status in the local communities. The research on this chapter revealed that females in the Balkan villages were one of the main participants in the musical performances because melody served an important tool for expressing their feelings, for entertainment and for voicing their wishes and desires. Girls and women used to gather in the evenings in a house of their neighborhood and, by doing some needlework or by being engaged with agricultural work such as corn shucking, or tobacco stringing, they sang. The female neighbors maintained this custom as it was not expected for them to entertain themselves publicly except for the dancing on the village square on feast days. By contrast, men socialized in the village cafe’, or in the tavern. Therefore, women’s evening gatherings were good outlets in order to perform musically and to escape from family obligations.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution

Chapter: USD 29.95; Price excludes VAT (USA)

eBook: USD 79.99; Price excludes VAT (USA)

Softcover Book: USD 99.99; Price excludes VAT (USA)

Hardcover Book: USD 99.99; Price excludes VAT (USA)

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Notes

1.
Koziou, Soultana, (2011), Phylo kai demotiko tragoudi: He symvoli tis gynaikas stin epitelesi tis paradosiakis mousikis stin periochi tis Karditsas: ethnomousikologiki erevna kai protasi mias ekpaideutikis efarmogis [Gender and folk song: The contribution of woman in the performance of the traditional music in the region of Karditsa: an ethnomusicological research and a proposal of an educational apply], Ph.D. Thesis, National and Kapodistrian University of Athens, School of Philosophy, Department of Musical Studies, p. 23.
2.
Tiganouria, Panagiota, (2007), Balos sti Samothraki:paradosi kai neoterikotita: Mia mousiki, ethnografiki proseggisi. [The dance of Balos in Samothraki: Tradition and Novelty: a musical and ethnographical approach], Ph.D. Thesis, National and Kapodistrian University of Athens, Department of Musical Studies, p. 289 (and) Tiganouria, Panagiota, (2007), Balos sti Samothraki:paradosi kai neoterikotita: Mia mousiki, ethnografiki proseggisi. Ethnologiko Mouseio Thrakis (publisher).
3.
Koziou, Soultana…,ibid., p. 22.
4.
Tiganouria, Panagiota, ibid., p. 289.
5.
The registration of the musical sources was done by men, as women in the traditional peasant society were supposed to stay aside because it was not thought of as proper to give information to ‘strangers’. See more in: Mavroeides, Marios,(1989), Ta parallela Tragoudia tou Gamou. Koina kai mi koina stoicheia tis mousikis ekfrasis ton Hellenikon topon’, [The Parallel Wedding Songs. Common and non-common characteristics of musical expressions of the Greek places], Ph.D. Thesis, University of Ioannina, Faculty of Philosophy, Part I, chapter 6, p. 25. On male musicians in Greece, see: Varvounis, M.G., (2000), ‘Aftoviografikes Diegiseis ke Paradosiakoi Mousikoi. He periptosi tou Theologou Grilli’. [Autobiographical Narratives and Traditional Musicians. The case- study of Theologos Grillis], in: Laografika Dokimia. Meletimata gia ton Elliniko Paradosiako Politismo, Kastaniotis (publishers), Athens.
6.
Mavroeides, Marios, Ta parallela Tragoudia tou Gamou…,ibid., Part I, Chapter 5, p. 55.
7.
Ibid., Part I, chapter 5, p. 55 and chapter 6, p. 53.
8.
Badnall, Toni, Patricia, (2009) The Wedding song in Greek literature and culture, Ph.D. Thesis, University of Nottingham, p. 19.
9.
Auerbach, Susan, (1987) ‘From Singing to Lamenting: Women’s Musical Role in a Greek Village’, in: Ellen Koskoff, (ed.), Women and music in cross-cultural Perspective, University of Illinois Press, p. 51.
10.
Mavroeides, Marios, ibid., Part I, chapter 6, p. 54.
11.
Anastasiadou, Pelagia, (2003), Parastaseis tis koinonikis domis sta poietarika tragoudia tis Kyprou [Representations of social structure in poietarika songs of Cyprus], Ph.D. Thesis, Panteio University of Social and Political Sciences, p. 23.
12.
Auerbach, Susan, ‘From Singing to Lamenting: Women’s Musical Role in a Greek Village’, ibid., p. 25.
13.
The lyrics in Greek ran as follows:
- anoixte mas tin porta sas,
- Kai doste mas tin kori
- Kai doste mas tin perdika
- Pou keilaidei sta ori
- Gia doste mas tin nyfi sas
- To omorfo peristeri
- Pourth’ o gambros, pourth’ o aitos
- Gia na tin kanei tairi.
- Fonaxte kai ti mana tis,
- Narthei na tine zosei
- Kai na tis dosei tin euchi
- Kai na tin kamarosei
- Evga nyfoula mas kali
- Ki omorfo peristeri
- Irth’ o gambros, irth’ o aitos
- Pou tha se kanei tairi.
14.
According to the Greek folklore tradition, the partridge symbolized female beauty and pride.
15.
The white dove served as the symbol of chastity.
16.
A bird that was highly symbolic of male strength and dominance.
17.
[The excerpt is drawn from] Nikolizas, N.E.,(ed.), (2011) Megarian Civilization and Folklore of Megara 1821–1980 (published by) the Municipality of Megara, p. 117.
18.
Ibid., p. 117.
19.
Chatzilia, M., (2004), Part B’, Chapter 1. https://ujdigispace.uj.ac.za/bitstream/handle/10210/2571
20.
Chatzilia, M., 2004, ibid.
21.
[in Greek]
- Aspri, kataspri vampakia, tin eixa stin avli mou,
- Ti skaliza, tin potiza, tin eicha gia diki mou.
- Ma’ rthe ksenos ki apoksenos, irthe kai mou tin pire,
- -krypse me, mana, krypse me na mi me parei o ksenos.
- -Ti na se krypso matia mou, pou sy tou ksenou eisai,
- Tou ksenou foria foresia, tou ksenou daxtylidia
- Giati tou ksenou eisai sy ki o ksenos tha se parei.
[The excerpt is drawn from] Alexiou, Margaret, (2002), The Ritual Lament in Greek Tradition, Second Edition, Revised by Dimitrios Yatromanolakis and Panagiotis Roilos, Rowman &Littlefield Publisher, Inc., pp. 121–122.
22.
Tiganouria, Panagiota, Balos sti Samothraki:paradosi kai neoterikotita: Mia mousiki, ethnografiki proseggisi, ibid., p. 286.
23.
Ibid, p. 287.
24.
Chatzilia, M., ibid.
25.
Banti, Louisa, (1997),Ta laika nanourismata os poitiko eidos [Popular Lullabies as a form of Poetry], Ph.D. Thesis, National and Kapodistrian University of Athens, Department of Education, pp. 120–122.
26.
Ibid., p.123.
27.
[In Greek]
- Koimisou koritsaki mou
- Ki ego tin kounia sou kouno glyka na se koimizo
- Koimisou ki pariggeila stin Poli ta proikia sou
- Sti Venetia ta roucha sou kai ta diamantika sou.
Tiganouria, Panagiota, ibid., p. 393.
28.
Banti, Louisa, ibid., p. 128.
29.
In this point we must also consider the fact that the poorer the family, the stronger preference they held for the birth of a boy because parents needed helping hands for the farming labor. Lullabies were mainly performed by urban mothers with the same characteristics, too.
30.
Banti, Louisa, Ibid., p. 129.
31.
Parparousi, Georgia, (2011), He paidikotita sto helleniko demotiko tragoudi. [Childhood in Greek folk songs], Ph.D. Thesis, Panteio University of Social and Political Sciences, Department of Sociology, p. 198.
32.
Ibid., p. 201.
33.
Ibid., p. 206.
34.
Ibid., p. 209.
35.
Ibid., p. 209.
36.
Konstantakopoulou, Aggeliki,(2012) He thesi kai o rolos tou tragoudiou stin ekpaideutiki praxi (Poiotiki erevna gia ti thesi kai to rolo tou tragoudiou sta sxolika echeiridia tis A’ kai B’ taxis tou Dimotikou sxoleiou), [The position and the role of the songs in the educational practice: Qualitative research on the position and the role of the songs in the school books of the A’ and the B′ Grades of the elementary school], Graduate Paper, University of Patras, School of Humanities, Department of Education, p. 203.
37.
Chatzinikolaki, Evaggelia, (2007), Mousiki kai Paideia ston Platona [Music and education in Plato], Graduate Paper, Aristotle University of Thessaloniki, Department of Philosophy and Pedagogy, p. 7.
38.
Dertilis, G., B., Historia tou Hellenikou Kratous, ibid., v. B′, pp.-611–613.
39.
Ventura, Lina, (1999) ‘Oi dromoi tis megalis fygis ton Hellenon’ [The streets of the Greeks’ great exodus], http://www.tovima.gr/opinion/article/?aid=117495, 19/12/1999.
40.
Pistrick, E., (2008), ‘Migration Songs in Epirus-Multipart Singing and the Construction of Identity and Memory in a borderland region’, Martin-Luther University, Halle-Wittenberg, Germany, in: V. Nitsiakos, I. Manos, G. Agelopoulos, et al. (eds.), Balkan Border Crossings: First Annual of the Konitsa Summer School, Konitsa, pp. 472–478.
41.
Goudas, Silvia (2009) Ho thrinos sto demotiko tragoudi [The lament in the demotic song], Thesis,LundsUniversitet,lup.lub.lu.se,/studentpapers/record/1423055/file/142356.pdf, p. 16.
42.
Pistrick, E., (2009), ‘Singing of pain and memory-Emotionalizing mythistory of migration in Europe’, Zeitschrift für Balkanologie 45(1):66–76, pp. 71–72.
43.
Chatzidakis, Konstantinos, (2000), Chronos kai Choros sta demotika tragoudia [Time and Space in the folk songs], Ph.D Thesis, Panteio University of Social and Political Sciences, Department of Sociology, p. 195.
44.
Chatzidakis, Konstantinos, ibid.,p. 195.
45.
The verses above are translated by the author of this book. Goudas, Silvia, ibid.,pp. 17–18. (The lyrics in Greek are the following):
- Na steilo me ta dakrya mou mantili mouskemeno,
- Ta dakrya mou einai kaftera, kai kaine to mantili.
46.
The verses above are also in translation. Goudas, Silvia, ibid.,p. 17. (The Greek lyrics ran as follows):
- Sikonomai ti charavgi, giati ypno den evrisko,
- Anoigo to parathyro, koitazo tous diavates,
- Koitazo tis geitonises kai tis kalotychizo,
- Pos tachtarizoun ta mikra kai ta glykovyzainoun,
- Me pairnei to parapono, to parathyri afino,
- Kai mpaino mesa, kathomai, kai mavra dakrya chino.
47.
Goudas, Silvia, ibid., p. 19.
48.
Mani, Anastasia, (2013), Synaisthimata kai nootropies stous ichous tis mousikis kai sta vimata tou chorou: He politismiki zoe kai he diacheirisi tis sto Metsovo 17os-20os aionas, [Emotions and mentalities in the sounds of music and the steps of dancing: Cultural life and its management in Metsovo 17th–20th century], Ph.D Thesis, University of Ioannina, Department of History and Archaeology, p. 82.
49.
Mani, Anastasia, ibid., p. 83.
50.
Kakaroglou, Anastasia, (2013), Galloi erevnites tis hellenikis mousikis sta teli tou 19ou aiona kai stis arches tou 20ou. Louis-Albert Bourgault-Ducoudray, Maurice Emmanuel, Hubert Pernot, [French Researchers of the Greek music in the late 19th and early 20th century: Louis-Albert Bourgault-Ducoudray, Maurice Emmanuel, Hubert Pernot], Ph.D. Thesis, National and Kapodistrian University of Athens, Department of Musical Studies, p. 136.
51.
Similar categories can be found in almost all Greek regions. It is noteworthy that there were no migration songs in this categorization, probably because the men’s emigration to the USA and elsewhere, started later.
52.
(In Greek it ran):
- Kalliora na echoun oi elies pou vgazoune to ladi
- kai feggoun stin agapi mou gia na kentaei to vrady.
From this position I would like to thank my kind neighbor in Corfu Mrs. Loula Anthi for providing me with the verses.
53.
Koliopoulos John, S. and Veremis Thanos, (2002),M., Greece: The Modern Sequel. From 1831 to the Present, Hurst & Company, London, p. 223.
54.
See more about it: Gallop, Rodney, (January 1935), ‘Folk –Songs of Modern Greece’, The Musical Quarterly, 21(1):89–98, p. 89.
55.
Rombotis, Gabriel, (1932), ‘The Klephts in Modern Greek Poetry’, The Open Court, v. 1932(11), Article 3, p. 761, (also) Koliopoulos, John, S., & Veremis, Thanos, M., Greece, The modern Sequel…,ibid., pp. 222–223.
56.
Rombotis, Gabriel, ‘The Klephts…, ibid., p. 761.
57.
Ibid., p. 761.
58.
Koliopoulos, John, S., & Veremis, Thanos, M., Greece…, ibid., p. 222.
59.
Abbott, G., F.,(2011), Songs of Modern Greece, Cambridge University Press (first published in 1900), pp. 24–25.
60.
Abbott, G., F. ibid., p. 14.
61.
Politis,Alexis,Oi‘Rimes’:Emmetresafigiseisperistatikon[The‘Rhymes’:Poetic narrativesonfacts]:https://helios-eieekt.gr/EIE/bitstream/10442/7649/2/NO2.015.06.pdf p. 81.
62.
Koliopoulos, John, S., & Veremis, Thanos, ibid., p. 223.
63.
Zervas, Spyridon, P., (2007), To Kleftiko tragoudi (18os -19os ai.). Historia kai Mousiki Techni sti Vasiki Ekpaideusi stin Paideia, [The Kleftiko song (18–19 ai.) History and art music in basic education and in culture], Ph.D. Thesis, University of Ioannina, Department of Pre-school Education, Ioannina, p. 52 (also) Rombotis, Gabriel, ibid., p. 762.
64.
For scholarly collections on Greek folk songs that have become a very useful source on folklore songs, see: Passow, Arnold, Tragoudia Romaiika: Popularia Carmine-Graeciae Recentioris, Leipsig 1860.
65.
Zervas, Spyridon, P., To Kleftiko tragoudi…, ibid., p. 18.
66.
Rombotis, Gabriel, ibid.,p. 765.
67.
(The verses in Greek are drawn) from: Zervas, Spyridon, ibid., p. 116.
68.
Zervas, Spyridon, P., To Kleftiko tragoudi…,ibid., p.117.
69.
Rombotis, Gabriel, ibid.,p.768.
70.
Ibid., p. 765.
71.
[In Greek]
- San perdikoula thlivetai san to papi madietai,
- San tou korakou ta ftera mavrizei he foresia tis.
[The Greek verses are drawn from] Zervas, Spyridon, P., To Kleftiko tragoudi…, ibid., p.73.(The translation is done by the author of this book).
72.
Ibid., p. 73
73.
Ibid., p. 75.
74.
See more: Constantinides, Elizabeth, (May 1983), ‘Andreiomeni: The Female Warrior in Greek Folk Songs’, Journal Of Modern Greek Studies, 1(1):63–72, p. 63.
75.
Ibid., p. 89.
76.
Rombotis, Gabriel, ibid., p. 762. The most important lemeria were located in Thessaly, in Acarnania (Valtos), in Peloponnesus (Mani) and in Epirus (Souli).
77.
Abbott, G.,F., ibid., p. 24.
78.
Ibid.
79.
Shehan, Patricia, K., (1987), ‘Balkan women as preservers of traditional music and culture’ in: Ellen Koskoff (ed.), Women and Music: Cross-Cultural Perspectives, New York Greenwood Press, 45–53.
80.
Ibid.
81.
Bartók, Béla, and Lord, B., Albert, (1951), Serbo-Croatian Folk Songs: Texts and Transcriptions of Seventy-Five Folk Songs from the MILMAN PARRY COLLECTION and a Morphology of SERBO-CROATIAN FOLK MELODIES,(With a Foreword by George Hezog), Columbia University Press, New York, p. 21.
82.
Coote, Mary, (Jul-Sep. 1977), ‘Women’s songs in Serbo-Croatian’, The Journal of American Folklore, 90:331–338, p. 333.
83.
Coote, Mary, P., (1992), ‘On the Composition of Women’s Songs’, Oral Tradition 7(2):332–48, p. 332.
84.
Coote, Mary, P., ‘On the Composition …’, ibid., p. 333.
85.
Jakovljevic, Rastko, Stevan, (2012), Marginality and Cultural Identities: Locating the Bagpipe Music of Serbia, Durham Theses, Durham University, http://etheses.dur.ac.uk/3544/, p. 97.
86.
Bartók, Béla, and Lord, B., Albert, Serbo-Croatian Folk Songs, ibid., p. 82.
87.
Ibid., p. 83. This type of songs was not performed only by women. In this category there are also children’s songs.
88.
Jakovljevic, Rastko, Stevan, Marginality and Cultural Identities…., ibid., p. 106.
89.
Cowan, Jane, K., (1990), Dance and the Body Politic in Northern Greece, Princeton University Press, p. 4.
90.
Nikolizas, N.E., Megarikos Politismos, ibid., p 121. The same ritual was also called patinada in the Greek islands.
91.
Ibid., pp. 117–118.
92.
See more about it in the following pages.
93.
Prantsidis, D.,(1995), Ioannis, Ho paradosiakos choros stis koinotites ton Akbounarioton sto General Intzovo Bulgarias kai sto Eginio Pierias: Sygritiki Proseggisi, [The traditional dance of Akbounariotes in the communities of General Intzovo in Bulgaria and Eginio-Pierias in Greece. A comparative folklore approach], Ph.D., Thesis, National and Kapodistrian University of Athens, Department of Education, p. 83.
94.
Auerbach, Susan, ‘From Singing to Lamenting: Women’s Musical Role in a Greek Village’, ibid., p. 25.
95.
Koliousi Irini,(2009),Ta Historika tragoudia tou Souliou: Historikotita kai topiki taftotita [The historical songs of Souli; Historicity and local identity], Ph.D. Thesis, National and Kapodistrian University of Athens, Department of Musical Studies, p. 67.
96.
http://greekcommunity.org.nz/about-2/culture, ‘Greek Dance’.
97.
Dimas, Ilias, (1989), Ho paradosiakos choros sto Syrrako: Laografiki kai Anthropologiki Proseggisi.[The Traditional Dance in Syrrako: Folklore and Anthropological Approach], Ph.D. Thesis, University of Ioannina, Department of History and Archaeology, p. 59.
98.
The marriage age varied with the passing of the years. In Greece, for example, the age of marriage for a girl in mid twentieth-century rose, compared to late nineteenth century.
99.
Dimas, Ilias, ibid., pp. 59–60.
100.
Ibid, p. 61.
101.
Ibid.,p. 61.
102.
Ibid., p. 69.
103.
Koziou, Soultana, ibid., p. 72.
104.
A place where men used to go and meet their fellow villagers was the village café’, or the tavern.
105.
Ibid., p. 72.
106.
Ibid., p. 72.
107.
In mid-twentieth century there seemed to be a bending of this rule. See more in: Koziou, Soultana, ibid., p. 73.
108.
Koziou, Soultana, ibid., p. 73.
109.
Wolfram, Richard, (1935), ‘Ritual and Dramatic Associations of Sword and Chain Dances’, Journal of the English Folk Dance and Song Society, 2:35–41.
110.
The church is officially named ‘Saint John Galilaios’ but the local people called it ‘Saint John the Dancer’. The church is the venue of the Trata dance until nowadays and it is performed on Easter Tuesday.
111.
Benardis, Meletios, (1936), Psigmata Megarikon: Mythologika-Historika, [Mythological-Historical Grains of the Megarian Dialect] v. A’, published by the Municipality of Megara, p.188.
112.
Bourgault-Ducoudray, L.A., (1878), Souvenirs d’une mission musicale en Grèce et en Orient, Deuxieme Edition, Librairie Hachette, Paris, pp. 27–29.
113.
Northern Thrace enjoyed autonomy in the Ottoman Empire but in 1886 it fell under Bulgarian control. Upon its annexation in Bulgaria, a number of approximately 300,000 Greek inhabitants arrived in Greece and settled in different regions where they maintained kinship links with people of their own background. See more in: Loutzaki Irene, (1989), Dance as a cultural message: A Study of Dance Style among the Greek Refugees from Northern Thrace in Micro Monastiri, Neo Monastiri and Aeginion, Ph.D Thesis, The Queen’s University of Belfast, p. 13.
114.
Loutzaki, Irene, ibid., pp. 18–19.
115.
Ibid., p. 57.
116.
Ibid., p. 76.
117.
‘Bogdanos’ was the name of a hill near ‘Megalo Monastiri’ which in Slavic means ‘God’s day’. Loutzaki, Irene, ibid., p. 80.
118.
Ibid., p. 80.
119.
Hofman, Ana, (2010), Staging Socialist Feminity: Gender Politics and Folklore Performance in Serbia, Brill, pp. 17 and 21.
120.
Ibid., p. 21.
121.
Coote, Mary, ‘Women’s songs in Serbo-Croatian’, ibid., pp. 333–335.
122.
Ibid, p. 335.
123.
Hofman, Ana, Staging Socialist Feminity…., ibid., p. 21.
124.
Ibid., p. 21.
125.
Jakovljevic, Rastko, Stevan, Marginality and Cultural Identities…ibid., p. 70.
126.
Hofman, Ana, Staging Socialist Feminity, ibid., p. 24.
127.
To my knowledge, a variation of this custom exists in the form of carols sung on Lazar’s Saturday -one week before Easter- and performed mainly by men, or children, in a village in Corfu and in a small number of villages in mainland Greece. Also, a similar tradition is maintained in the region of Aiani, Kozani, in northern Greece where the local women put on the traditional local costumes and danced in the village square.
128.
Jakovljevic, Rastko, Stevan, Marginality and Cultural Identities…,ibid., pp. 98–99.
129.
Hofman, Ana, Staging Socialist Feminity, ibid., pp. 33–34.
130.
This was a cultural characteristic also existing in Greece, as aforementioned. Coote, Mary, ‘Women’s songs in Serbo-Croatian’, ibid., 336.
131.
Jakovljevic, Rastko, Stevan, Marginality and Cultural Identities…,ibid., pp. 121–122.
132.
Ibid., p. 122.
133.
Ibid., p. 123.
134.
On midwives, see Chapter 3.
135.
Alpha tv (2013) http://www.alphatv.gr
136.
This is a custom that is not referred in other Greek regions, to my knowledge.
137.
Rice, Timothy, (1994) May it fill your soul: Experiencing Bulgarian music, University of Chicago Press, pp. 117 and 124.
138.
Henrich, Nathalie, et al., (2007), ‘Resonance strategies used in Bulgarian Women’s singing style: A pilot study’, Logopedics Phonatrics Vocology 32(4):171–177.
139.
Nelva, Hélène (ed.), (2007), La littérature Orale Bulgare, vol. 4, Kathala (editions), pp. 17–18.
140.
In Bulgarian it ran as follows:
- Drus drus konche-konche vihrogonche!
- Konche kaza: trop, trop!
- (Kid) said: hop, hop.
- Drus, drus konche-konche vihrogonche!
- Kade hodish, konche?
- -Na babini na gosti.
- -Kakvo ti dade baba?
- Orehche, bonbonche,
- Konche vihrogonche!
- Xvarrr!
141.
From this position, I would like to thank my friend Mrs. Radka Milusheva for providing me with the lyrics of the song, as well as with the English translation.
142.
Buchanan, Donna, A., (2005), Performing Democracy: Bulgarian Music and Musicians in Transition(Chicago Studies in Ethnomusicology),The University of Chicago Press, p. 84.
143.
Ibid., p. 302.
144.
The Sedenki custom is also maintained through radio programs that broadcast it.
145.
Ibid., p. 85.
146.
Panopoulou, K., (2009), ‘The Dance Identity of the Vlachs of Lailias Village and its Transformation over three Generations’, Yearbook of Traditional Music 41:166–186.

References

Abbott, G. F. (2011). Songs of Modern Greece. Cambridge University Press (first published in 1900).
Google Scholar
Alexiou, M. (2002). The ritual lament in Greek tradition (2nd ed.) (D. Yatromanolakis & P. Roilos, Rev ed.). Lanham: Rowman & Littlefield Publisher, Inc.
Google Scholar
Alpha tv. (2013). http://www.alphatv.gr
Anastasiadou, P. (2003). Parastaseis tis koinonikis domis sta poietarika tragoudia tis Kyprou [Representations of social structure in poietarika songs of Cyprus]. PhD thesis, Panteio University of Social and Political Sciences.
Google Scholar
Auerbach, S. (1987). From singing to lamenting: Women’s musical role in a Greek Village. In E. Koskoff (Ed.), Women and music in cross-cultural perspective. Urbana: University of Illinois Press.
Google Scholar
Badnall, T. P. (2009). The wedding song in Greek literature and culture. PhD thesis, University of Nottingham.
Google Scholar
Banti, L. (1997). Ta laika nanourismata os poitiko eidos [Popular Lullabies as a form of Poetry]. PhD thesis, National and Kapodistrian University of Athens.
Google Scholar
Bartók, B., & Lord, B. A. (1951). Serbo-Croatian folk songs: Texts and transcriptions of seventy-five folk songs from the MILMAN PARRY COLLECTION and a morphology of SERBO-CROATIAN FOLK MELODIES, (With a Foreword by George Hezog). New York: Columbia University Press.
Google Scholar
Benardis, M. (1936). Psigmata Megarikon: Mythologika-Historika [Mythological- Historical Grains of the Megarian Dialect] v. A’. Published by the Municipality of Megara.
Google Scholar
Bourgault-Ducoudray, L. A. (1878). Souvenirs d’une mission musicale en Grèce et en Orient (Deuxieme edition). Paris: Librairie Hachette.
Google Scholar
Buchanan, D. A. (2005). Performing democracy: Bulgarian music and musicians in transition (Chicago studies in ethnomusicology). Chicago: The University of Chicago Press.
Google Scholar
Chatzidakis, K. (2000). Chronos kai Choros sta demotika tragoudia [Time and Space in the folk songs]. PhD thesis, Panteio University of Social and Political Sciences.
Google Scholar
Chatzilia, M. (2004). Part B’, Chapter 1. https://ujdigispace.uj.ac.za/bitstream/handle/10210/2571
Chatzinikolaki, E. (2007). Mousiki kai Paideia ston Platona [Music and education in Plato]. Graduate Paper, Aristotle University of Thessaloniki.
Google Scholar
Constantinides, E. (1983, May). Andreiomeni: The female warrior in Greek folk songs. Journal of Modern Greek Studies, 1(1), 63–72.
Article Google Scholar
Coote, M. (1977, July–September). Women’s songs in Serbo-Croatian. The Journal of American Folklore, 90, 331–338.
Article Google Scholar
Coote, M. P. (1992). On the composition of women’s songs. Oral Tradition, 7(2), 332–348.
Google Scholar
Cowan, J. K. (1990). Dance and the body politic in Northern Greece. Princeton: Princeton University Press.
Book Google Scholar
Dimas, I. (1989). Ho paradosiakos choros sto Syrrako: Laografiki kai Anthropologiki Proseggisi [The Traditional Dance in Syrrako: Folklore and Anthropological Approach]. PhD thesis, University of Ioannina.
Google Scholar
Gallop, R. (1935, January). Folk-songs of Modern Greece. The Musical Quarterly, 21(1), 89–98.
Article Google Scholar
Goudas, S. (2009). Ho thrinos sto demotiko tragoudi [The lament in the demotic song]. Thesis, Lunds Universitet. -lup.lub.lu.se, /student-papers/record/1423055/file/142356.pdf
Henrich, N., et al. (2007). Resonance strategies used in Bulgarian women’s singing style: A pilot study. Logopedics Phonatrics Vocology, 32(4), 171–177.
Article Google Scholar
Hofman, A. (2010). Staging socialist feminity: Gender politics and folklore performance in Serbia. Leiden: Brill.
Book Google Scholar
http://greekcommunity.org.nz/about-2/culture, ‘Greek Dance’.
Jakovljevic, R. S. (2012). Marginality and cultural identities: Locating the bagpipe music of Serbia. Durham theses, Durham University. http://etheses.dur.ac.uk/3544/
Kakaroglou, A. (2013). Galloi erevnites tis hellenikis mousikis sta teli tou 19ou aiona kai stis arches tou 20ou. Louis-Albert Bourgault-Ducoudray, Maurice Emmanuel, Hubert Pernot [French Researchers of the Greek music in the late 19th and early 20th century: Louis-Albert Bourgault-Ducoudray, Maurice Emmanuel, Hubert Pernot]. PhD thesis, National and Kapodistrian University of Athens.
Google Scholar
Koliopoulos John, S., & Veremis Thanos, M. (2002). Greece: The modern sequel. From 1831 to the present. London: Hurst & Company.
Google Scholar
Koliousi, I. (2009). Ta Historika tragoudia tou Souliou: Historikotita kai topiki taftotita [The historical songs of Souli; Historicity and local identity]. Ph.D. Thesis, National and Kapodistrian University of Athens.
Google Scholar
Konstantakopoulou, A. (2012). He thesi kai o rolos tou tragoudiou stin ekpaideutiki praxi (Poiotiki erevna gia ti thesi kai to rolo tou tragoudiou sta sxolika echeiridia tis A’ kai B’ taxis tou Dimotikou sxoleiou) [The position and the role of the songs in the educational practice: Qualitative research on the position and the role of the songs in the school books of the A’ and the B’ Grades of the elementary school]. Graduate Paper, University of Patras.
Google Scholar
Koziou, S. (2011). Phylo kai demotiko tragoudi: He symvoli tis gynaikas stin epitelesi tis paradosiakis mousikis stin periochi tis Karditsas: ethnomousikologiki erevna kai protasi mias ekpaideutikis efarmogis [Gender and folk song: The contribution of woman in the performance of the traditional music in the region of Karditsa: an ethnomusicological research and a proposal of an educational apply]. PhD thesis, National and Kapodistrian University of Athens.
Google Scholar
Loutzaki I. (1989). Dance as a cultural message: A study of dance style among the Greek refugees from Northern Thrace in Micro Monastiri, Neo Monastiri and Aeginion. PhD thesis, The Queen’s University of Belfast.
Google Scholar
Mani, A. (2013). Synaisthimata kai nootropies stous ichous tis mousikis kai sta vimata tou chorou: He politismiki zoe kai he diacheirisi tis sto Metsovo 17os–20os aionas, [ Emotions and mentalities in the sounds of music and the steps of dancing: Cultural life and its management in Metsovo 17th–20th century]. PhD thesis, University of Ioannina.
Google Scholar
Mavroeides, M. (1989). Ta parallela Tragoudia tou Gamou. Koina kai mi koina stoicheia tis mousikis ekfrasis ton Hellenikon topon [The Parallel Wedding Songs. Common and non-common characteristics of musical expressions of the Greek places]. PhD thesis, University of Ioannina.
Google Scholar
Nelva, H. (Ed.). (2007). La Litterature Orale Bulgare (Vol. 4). Paris: Editions Karthala.
Google Scholar
Nikolizas, N. E. (Ed.). (2011). Megarian civilization and Folklore of Megara 1821–1980. Megara: The Municipality of Megara.
Google Scholar
Panopoulou, K. (2009). The dance identity of the Vlachs of Lailias Village and its transformation over three generations. Yearbook of Traditional Music, 41, 166–186.
Google Scholar
Parparousi, G. (2011). He paidikotita sto helleniko demotiko tragoudi [Childhood in Greek folk songs]. PhD thesis, Panteio University of Social and Political Sciences.
Google Scholar
Passow, A. (1860). Tragoudia Romaiika: Popularia Carmine-Graeciae Recentioris. Leipsig.
Google Scholar
Pistrick, E. (2008). ‘Migration songs in Epirus-Multipart singing and the construction of identity and memory in a borderland region’, Martin-Luther University, Halle-Wittenberg, Germany. In V. Nitsiakos, I. Manos, G. Agelopoulos, et al. (Eds.), Balkan border crossings: First annual of the Konitsa summer school, Konitsa.
Google Scholar
Pistrick, E. (2009). Singing of pain and memory-Emotionalizing mythistory of migration in Europe. Zeitschrift für Balkanologie, 45(1), 66–76.
Google Scholar
Politis, A. Oi ‘Rimes’: Emmetres afigiseis peristatikon [The ‘Rhymes’: Poeticnarrativesonfacts]. https://helioseie.ekt.gr/EIE/bitstream/10442/7649/2/NO2.015.06.pdf
Prantsidis, D. (1995). Ioannis, Ho paradosiakos choros stis koinotites ton Akbounarioton sto General Intzovo Bulgarias kai sto Eginio Pierias: Sygritiki Proseggisi, [The traditional dance of Akbounariotes in the communities of General Intzovo in Bulgaria and Eginio-Pierias in Greece. A comparative folklore approach]. PhD thesis, National and Kapodistrian University of Athens.
Google Scholar
Rice, T. (1994). May it fill your soul: Experiencing Bulgarian music. Chicago/London: University of Chicago Press.
Google Scholar
Rombotis, G. (1932). ‘The Klephts in modern Greek poetry’. The Open Court, 1932(11).
Google Scholar
Shehan, P. K. (1987). Balkan women as preservers of traditional music and culture. In E. Koskoff (Ed.), Women and music: Cross-cultural perspectives. New York: Greenwood Press.
Google Scholar
Tiganouria, P. (2007). Balos sti Samothraki: paradosi kai neoterikotita: Mia mousiki, ethnografiki proseggisi. [The dance of Balos in Samothraki: Tradition and Novelty: a musical and ethnographical approach], Ph. D. Thesis, National and Kapodistrian University of Athens. (new edition) Tiganouria, Panagiota, (2007), Balos sti Samothraki: paradosi kai neoterikotita: Mia mousiki, ethnografiki proseggisi, Ethnologiko Mouseio Thrakis (publisher).
Google Scholar
Varvounis, M. G. (2000). ’Aftoviografikes Diegiseis ke Paradosiakoi Mousikoi. He periptosi tou Theologou Grilli’. [Autobiographical Narratives and Traditional Musicians. The case- study of Theologos Grillis]. In Laografika Dokimia. Meletimata gia ton Elliniko Paradosiako Politismo. Athens: Kastaniotis (publishers).
Google Scholar
Ventura, L. (1999). Oi dromoi tis megalis fygis ton Hellenon [The streetsoftheGreeks’greatexodus]. http://www.tovima.gr/opinion/article/?aid=117495. 19/12/1999.
Wolfram, R. (1935). Ritual and dramatic associations of sword and Chain dances. Journal of the English Folk Dance and Song Society, 2, 35–41.
Google Scholar
Zervas, S. P. (2007). To Kleftiko tragoudi (18os -19os ai.). Historia kai Mousiki Techni sti Vasiki Ekpaideusi stin Paideia [The Kleftiko song (18–19 ai.) History and art music in basic education and in culture]. PhD thesis, University of Ioannina.
Google Scholar

Download references

Author information

Authors and Affiliations

Independent Researcher, Glyfada, Greece
Polly Thanailaki

Authors

Polly Thanailaki
View author publications
You can also search for this author in PubMed Google Scholar

Rights and permissions

Reprints and permissions

Copyright information

About this chapter

Cite this chapter

Thanailaki, P. (2018). Euterpe, the Muse of Music: Women’s Position as Seen through Folklore Songs and Dances (Nineteenth to Early Twentieth Centuries). In: Gender Inequalities in Rural European Communities During 19th and Early 20th Century. Springer, Cham. https://doi.org/10.1007/978-3-319-75235-8_6

Download citation

DOI: https://doi.org/10.1007/978-3-319-75235-8_6
Published: 06 March 2018
Publisher Name: Springer, Cham
Print ISBN: 978-3-319-75234-1
Online ISBN: 978-3-319-75235-8
eBook Packages: Social SciencesSocial Sciences (R0)

Publish with us

Policies and ethics