Tondokument aus dem Phonogrammarchiv der Österreichischen Akademie der Wissenschaften. Gesamtausgabe der historischen Bestände 1899–1950. Series 9: The Collection of Abraham Zvi Idelsohn (1911–1913)

Israel J. Katz
2012 Ethnomusicology  
For each recording, the notes identify song type, performers, instrumentation, date, and location, and also provide information about song texts and the local use and function of the pieces. However, several errors should be noted, possibly a result of information being lost in translation. The tzamára and the kaváli are not side-blown but obliquely held, end-blown flutes. The souvliári is mistakenly categorized as a double reed. Most likely, the term "double" refers to the fact that a shorter
more » ... nd thinner flute with no finger holes is often tied next to the primary one so as to produce a piercing drone. The home village of the popular Cretan aerophone performer and maker Manolis Faragoulitakis is Voriz(i)a in the Heraklion (not the Chania) prefecture. Track 19 is not a tsámiko, mainland dance, but an island tune instead, whereas track 40, "To éndeka, " is not a Turkish tsiftetelli. Lastly, younger generations of musicians, such as Cretans Giannis Rompogiannakis and George Zaharioudakis, have been actively performing on and thus promoting a variety of wind instruments. On the island of Crete, Greek wind instrument performers and makers have met yearly since 2006 at the village of Gergeri, in the mountainous region of Rouvas, to talk about their instruments and also to perform on them. The proceedings from these meetings, accompanied by CDs, are also published. Because of these meetings and the resulting publications that focus on the particularities of regional music idioms, fresh interest in the Greek flute tradition has been supported and promoted, and participants from all over Greece exchange their views and experiences. Notes 1. I would like to acknowledge that this recording has also been reviewed in the Yearbook for Traditional Music (42:233) by Dr. Michael Kaloyanides.
doi:10.5406/ethnomusicology.56.1.0161 fatcat:mag57bgzfnc7peq5psjaog3uum