2009 Ethnomusicology and Its Greek Mean

Ethnomusicology
in the Academy:
International Perspectives
ISSN 0043-8774
3/2009
the world of music 3/2009
VWB – Verlag für Wissenschaft und Bildung
ISSN 0043-8774
ISBN 978-3-86135-821-3
Christian Lehmann
the world of music
Editor: Jonathan P. J. Stock
Singstreit,
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Zur Biologie und Evolution
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Linda Barwick, associate professor, Sydney Conservatorium of Music, University of Sydney, Australia
Max Peter Baumann, professor of ethnomusicology, University of Würzburg
Martin Boiko, lecturer, Faculty of Education and Psychology, University of Latvia, and Latvian Academy of Culture Warum singt der Mensch?
Rafael José de Menezes Bastos, professor, Department of Anthropology, Federal University of Santa Catarina, Auf welchen Wegen der Evo-
Florianopolis, Brazil
Shubha Chaudhuri, director, Archives and Research Center for Ethnomusicology, New Delhi, India lution haben wir die Fähigkeit
Scheherazade Qassim Hassan, lecturer, Department of Ethnology and Comparative Sociology, University of Paris gewonnen, uns musikalisch
X-Nanterre, Paris, France
Josep Martí, professor, Department of Musicology, Instituto Mila i Fontanals, C.S.I.C., Barcelona, Spain mitzuteilen? Die alltägliche
Svanibor Pettan, professor, Music Academy, University of Ljubljana, Slovenia
Adelaida Reyes, professor of music, Jersey City State College, Jersey City, N.J., USA
akustische Kommunikation
Francis Saighoe, professor, Department of Music, University of Cape Coast, Cape Coast, Ghana funktioniert durch das gespro-
Yosihiko Tokumaru, professor emeritus, Department of Music, Ochanomizu University, Tokyo, Japan
Bonnie Wade, professor, Department of Music, University of California at Berkeley, Berkeley, CA, USA
chene Wort. Gesang nehmen
Bell Yung, professor, Department of Music, University of Pittsburgh, Pittsburgh, PA, USA wir als Kunst um der Kunst willen wahr. Doch die Physiologie des
Stimmapparats und die Psychologie der Stimmwahrnehmung sprechen
Impressum: dafür, Singen auch als „biologisches Signal“, als evolutionäre Verhal-
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the world of music
vol. 51 (3) – 2009
Ethnomusicology in the Academy:

Jonathan P. J. Stock
Editor
Simone Krüger
Guest Editor
Helena Simonett
Book Review Editor
Dan Bendrups
Recording Review Editor
VWB – Verlag für Wissenschaft und Bildung

Berlin 2011
Journal of the
Ethnomusicology Programme
The University of Sheffield
Vol. 51(3) — 2009
CONTENTS
Ethnomusicology in the Academy:

Articles
Simone Krüger Ethnomusicology in the Academy: An Introduction . . 7
Aaron Corn Sound Exchanges: An Ethnomusicologist’s

Approach to Interdisciplinary Teaching and
Learning in Collaboration with a Remote
Indigenous Australian Community . . . . . . . . . . . . . . . 21
Alvin Petersen Teaching African Musics: Personal Reflections in

a South African University Setting . . . . . . . . . . . . . . . 51
Britta Sweers Toward a Framework for a Pedagogically-Informed

Ethnomusicology: Perspectives from a German
Musikhochschule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Samuel Araujo and Musical Knowledge, Transmission, and Worldviews:

José Alberto Salgado Ethnomusicological Perspectives from Rio
e Silva de Janeiro, Brazil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Eleni Kallimopoulou Ethnomusicology and Its Greek Meanings: Practices,

Discourses, and Pedagogies in the University . . . . . . . 111
Simone Krüger The Ethnomusicologist as Pedagogue: Disciplining

Ethnomusicology in the United Kingdom . . . . . . . . . . 139
4 • the world of music 51(3) - 2009
Book Reviews (Helena Simonett, ed.)

Judith Becker Benjamin D. Koen, Beyond the Roof of the World:
Music, Prayer, and Healing in the Pamir Mountains . 171
Matthew Harp Allen Christine Guillebaud, Le chant des serpents:

Musiciens itinérants du Kerala . . . . . . . . . . . . . . . . . . 175
David F. García John Radanovich, Wildman of Rhythm: The Life

and Music of Benny Moré . . . . . . . . . . . . . . . . . . . . . . 180
Ioannis Tsioulakis Eleni Kallimopoulou, Paradosiaká: Music,

Meaning and Identity in Modern Greece . . . . . . . . . . 182
Andrea Emberly Meki Nzewi, Israel Anyahuru, and Tom

Ohiaraumunna, Musical Sense and Meaning: An
Indigenous African Perception . . . . . . . . . . . . . . . . . . 184
Katherine E. Hoffman François Dell and Mohamed Elmedlaoui, Poetic

Meter and Musical Form in Tashilhiyt Berber Song . . 187
Lisa Urkevich Dieter Christensen and Salwa El-Shawan

Castelo-Branco, Traditional Arts in Southern Arabia:
Music and Society in Sohar, Sultanate of Oman . . . . . 190
Recording Reviews (Dan Bendrups, ed.)

Graeme Smith 50 Years: Where Do You Come From? Where Do
You Go? The New Lost City Ramblers. Washington:
Smithsonian Folkways SFW CD 40180 (2009). . . . . 193
Mark Gregory Classic Protest Songs from Smithsonian Folkways.
Various performers. Washington: Smithsonian
Folkways SFW CD 40197 (2009) . . . . . . . . . . . . . . . . 196
Bruce Johnson The Songs of Don Henderson. Don Henderson and

various artists. Queensland, Australia: Shoestring
Records SR81/1 and SR81/2 (2009) . . . . . . . . . . . . . . 198
Barbara Alge Traditional Russian Instrumental Music. Ulrich

Morgenstern. Hamburg: the Institute of Musicology,
Hamburg University (2008) . . . . . . . . . . . . . . . . . . . . 199
Contents • 5
Henry Johnson In That Bright World: Music for Javanese Gamelan.

Jody Diamond. New World Records, 80698-2 (2009) . 201
About the
Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
the world of music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

the world of music 51(3) - 2009: 111-137
Ethnomusicology and its Greek Meanings: Practices,

Discourses, and Pedagogies in the University
Eleni Kallimopoulou
Abstract
This article reports on Greek ethnomusicological discourses and practices and their
institutional articulation in Greek tertiary education. I examine how ethnomusicology
constitutes a field for the confrontation and interaction between competing local dis-
ciplinary paradigms and ideologies of identity and knowledge. Further, attention to
two music departments reveals a consistent tendency to construct an “ethnomusicol-
ogy of Greek music” by connecting ethnomusicology with Greek music.
1. Introduction
Q: Ethnomusicology is…
A1: …the study of the culture of each nation and the way it affects music; the
study of the differences among musical cultures
A2: …the music of the world’s peoples
A3: …the music of all peoples or one nation
Q: In this course I shall learn about…

A1: …the different kinds of music there are
A2: …the diversity/variety of the music of various nations
A3: …the different musical styles (polyrhythms, improvisations) of each nation/
region/continent
These are some of the answers that appeared routinely on the questionnaire I pre-
pared for my undergraduate music students at the Department of Music Science and
Art, University of Macedonia during the first week of the “Introduction to Ethnomu-
sicology” course in 2009/2010.1 As an ethnomusicologist trained abroad and coming
new to Greek academia, I was curious to know students’ attitudes and preconceived
notions about ethnomusicology, its definition, content, and value. From the ensuing
discussion, it emerged that the majority had a fairly romantic view about ethnomu-
sicology as the study of faraway, exotic musics. The vague answers given by most
students to a question, asking how they believed that a course in ethnomusicology
would help them for the future, suggested that they were not entirely sure about its
practical usefulness. This perception seemed to persist at the end of the semester,
when, in the course evaluation form, students gave high marks for the “quality of
the course” and the “teacher’s overall performance,” but reserved a markedly lower
grade for the “relevance of the course” and its “usefulness for their studies.”
In fact, what seems to be of relevance for music students at present is securing
their employment prospects upon graduation. Over the last two and a half decades,
the field of music education has been significantly reconfigured. The formation of
special public music secondary schools has created specialized posts for music
teachers in the fields of European art music and Greek traditional music, and in the
teaching of individual musical instruments.2 Such posts form an attractive career op-
tion that offers a steady income and some spare time for musicking. Hitherto, they
were taken by graduates of music conservatories or schools of ecclesiastical music,
which provide education at a lower level, than tertiary institutions, and are usually
private. But the introduction of music departments in tertiary education is effecting a
contentious redistribution of music education as well as a dispute among the emerg-
ing cultural rivals over their graduates’ so-called “professional rights,” i.e., their
accreditation for employment, especially in the public sector. This dispute, which
is further energized by the lack of a comprehensive state educational policy toward
the organization and regulation of the various private and public music education
institutions and their respective diplomas, also affects music students and graduates,
generating insecurity and a heated debate among them over their respective degree
qualifications.3
In this tentative state of affairs, the stakes for ethnomusicology are high. Besides
establishing a firm academic footing for itself next to its older relatives, musicology
and anthropology, a process that may ideally lead to the formation of specialized
degrees, ethnomusicology also needs to make a relevant contribution within tertiary
education by equipping students with tools to think about and make music as pro-
spective music teachers, researchers, and practitioners. Despite student views such
as the ones I reported above, it is in particular the passion with which students join
in when discussion in class turns from the example of another culture to their own
culture that indicates, to my mind, that ethnomusicology can be of relevance and sig-
nificance by offering, to begin with, fresh perspectives from which to consider and,
possibly, reconceive the familiar.
Against this backdrop, my article reports on Greek ethnomusicological discours-
es and practices and their institutional articulation in Greek tertiary education. For
the purposes of this study, I take “ethnomusicology” to be an analytical category,
whose meanings are not singular or given, but culturally constructed and contextual.
I view ethnomusicology and ethnomusicologists in the Greek university as a cultural
system and seek to understand its genealogies, politics, and poetics. Through an
examination of two university music departments, I discuss the place of ethnomusi-
E. Kallimopoulou. Ethnomusicology and its Greek Meanings • 113
cology in the curriculum, its disciplinary alliances, its content and pedagogies, and
the efficiency of its transmission. Emphasis is given to the educational potential of
ethnomusicological tropes, such as performance and cross-cultural encounter. I also
look at the challenges that Greek ethnomusicologists face as university teachers. By
way of conclusion, I reflect on the legacies of ethnomusicology and suggest some
possible directions for its future development in the Greek university.
My fieldwork was based on semi-structured interviews and informal discussions
with ethnomusicologists, academics, heads, and students, as well as on bibliographi-
cal, archival, and internet research. In my discussion, I draw substantially from my
own experience as ethnomusicologist. This choice was partly dictated by the lack of
consolidation of the academic field and content of ethnomusicology: Although there
is a relatively high number of ethnomusicologists and posts, given Greece’s rather
marginal presence in the international manifestation of the field, the institutional
practices and pedagogical methods and structures of ethnomusicology are far from
fixed. This article seeks to pose questions toward an understanding of the particular
problems and issues arising in the Greek transmission of ethnomusicology, and to
place it in an international context.
2. Ethnomusicology goes Greek!
Tertiary education in Greece is public and funded by the state. It comprises universi-
ties and technological educational institutions, which are self-governing under the
auspices of the ministry of education. The “department” forms the main operational
academic unit and grants the degree, which constitutes an official certificate that
indicates the university institute, faculty, department and, if any, the specialization/
direction, as well as the exact grade of the graduate. These components determine
graduates’ professional rights, i.e., their area of competence and specialization. In
line with the Bologna Process, undergraduate study programs constitute the first cy-
cle of the higher education system and are complemented by postgraduate study pro-
grams, which constitute the second cycle and may lead to a postgraduate specializa-
tion degree (MA) and, subsequently, a doctoral degree.4 In Greek higher university
education, the “Teaching and Research Faculty” (D.E.P.) comprises four ranks: pro-
fessor, associate professor, assistant professor, and lecturer. The first two are tenured,
while the latter two carry the possibility of tenure. Adjunct staff, who are employed
on a temporary basis with short-term contracts, cover additional teaching needs.
The introduction of ethnomusicology (ethnomousikologia) in Greek tertiary edu-
cation dates back to 1989,5 when a course under the heading “Ethnomusicology”
was included for the first time in the curricula of the Department of Music Studies,
Aristotle University, and the Department of Social Anthropology, University of the
Aegean.6 Two years later, the newly established Department of Music Studies at
the Athens University appointed a professor in ethnomusicology, and, the following
year, an assistant professor in ethnomusicology.7
The appearance of ethnomusicology followed broader developments in higher

education. With the Reformatory Law for Higher Education Institutions passed in
1982, the more democratic structure of “departments” and “sectors” replaced the
“chair,” while new academic disciplines like sociology, social history, geography,
social anthropology, and music studies were introduced into Greek universities (see
Gefou-Madianou 2000; Petralias 1999; Rokos 2003). The first academic position in
the field of music studies was an associate professorship in musicology, established
at the School of Philosophy (Faculty of Arts) at the University of Crete in 1984. A
year later, the Department of Music Studies at the Aristotle University was the first
university music department to come into operation. It was followed by the Depart-
ment of Music Studies at the Athens University, founded in 1991, and, shortly after-
wards, the Department of Music Studies at the Ionian University, the Department of
Music Science and Art at the University of Macedonia, and the Department of Tra-
ditional Music at the Technological Educational Institute of Epirus, which admitted
their first students in 1992, 1998, and 2000 respectively. The first independent social
anthropology departments to operate were the Department of Social Anthropology
at the University of the Aegean (1984), the Department of Social Policy and So-
cial Anthropology (renamed to Department of Social Anthropology) at the Panteion
University (1989), and the Department of History and Ethnology at the Democritus
University of Thrace (1990) (see Papataxiarchis 1999; Panopoulos 2003a; Tsaousis
1985).
Today, courses in ethnomusicology and/or related topics such as “world music”
and “music and culture” are offered at undergraduate level by all five music depart-
ments, as well as by several anthropology departments besides that at the University
of the Aegean, such as the one at Panteion University, and the Department of History,
Archaeology, and Social Anthropology at the University of Thessaly. Such courses
are part of departmental curricula, leading usually to a degree in music studies or
anthropology. To date, there is neither a specialized degree in ethnomusicology, nor
has any of the aforementioned departments formulated a specialization or direction
in ethnomusicology. The presence of ethnomusicology in postgraduate programs is
peripheral,8 but there are some doctoral graduates and several doctoral students. As
regards D.E.P. positions in ethnomusicology or related fields, there are presently six
in the Department of Music Studies at the University of Athens (discussed further
down), as well as an additional two in ethnomusicology, two in the anthropology of
music, and one in the anthropology of music and dance,9 making a rough total of
eleven D.E.P. positions throughout Greece.
Despite the gradual growth of ethnomusicology as an academic field of study
in Greece, its definition is no straightforward matter. This becomes clear if, for in-
stance, one looks at the professional loyalties and educational backgrounds of those
teaching it. Some of the first scholars to be branded ethnomusicologists in fact were
(or are) music folklorists and/or musicologists by training or approach. The late
Giorgos Amargianakis (1938-2003), the first scholar to get an academic position in
ethnomusicology, was a theologian and philologist who had studied European mu-
sic and Greek church music. His doctoral thesis, at the University of Copenhagen,
was on the palaeography of Byzantine music (Amargianakis 1977). He worked for
many years in the Folklore Centre at the Academy of Athens and at the Institute of
Mediterranean Studies where he conducted research on Cretan music, and held the
first professorship in musicology (at the University of Crete) before accepting the
professorship in ethnomusicology at the University of Athens. Lambros Liavas, who
joined this department as assistant professor in ethnomusicology soon afterwards,
studied law in Athens and ethnology of Southeast Europe at the Ecole des Hautes
Etudes en Sciences Sociales in Paris, where he also completed his PhD with Claudie
Marcel-Dubois and Magie Andral on the lyra in Crete and the Dodecanese islands
(Liavas 1986). Besides western classical music, he studied church and Greek folk
music alongside Simon Karas (1903-1999), a musicologist, who articulated an influ-
ential theory of Greek national music (Kallimopoulou 2009:35-46). He acknowledg-
es being also greatly influenced by music folklorist Fivos Anoyanakis (1915-2003),10
who was director of musical research at the Peloponnesian Folklore Foundation, and
by Swiss musicologist Samuel Baud-Bovy, who conducted ethnographic research
and rigorous musicological analysis on the metrical, melodic, and rhythmical com-
ponents of Greek folk song (see, for example, Baud-Bovy 1983).
Subsequently, the teaching of ethnomusicology was also taken up by scholars
with a solid background in anthropology (who studied mainly in Europe and the
USA) and a research focus on music, dance, performance, and other related subjects.
Their theoretical and thematic approach to the teaching of ethnomusicology differs
markedly from the previous category of scholars, as they invoke an ethnomusicol-
ogy grounded in ethnographic research and the cultural study of music; they inves-
tigate through music wider phenomena of society and culture, and may not refer at
all to the musical/structural qualities of the phenomena studied. In this context, eth-
nomusicological practices may also appear under different headings, most notably
“anthropology of music.” The latter term was, in fact, first used for a lectureship in
the Department of Social Anthropology at the University of the Aegean in order to
break away from the associations that the term ethnomusicology had acquired with
musical folklore.11
The ambivalence surrounding the definition of ethnomusicology in Greece does
more than reflect the historical—and to date partly unresolved—dispute within west-
ern ethnomusicology between a musicological and an anthropological approach. It
is also fuelled by the locally configured relationship between disciplines vying for
a place in tertiary education. Since its introduction in Greek universities, anthropol-
ogy has sought to define itself in relation to folklore studies, a discipline whose “na-
tional” credentials and academic constitution date back to the 1880s (see Herzfeld
1986). The debate was argued on epistemological, theoretical, and methodological
grounds,12 but equally at stake was the institutional demarcation between the two.
Today, anthropology enjoys a growing academic status and has attained institutional
autonomy, but there are also many scholars who operate at the intersections of an-
thropology and folklore studies. Music studies and, more specifically, ethnomusicol-
ogy provide an additional conceptual and institutional field for the articulation and
arbitration of the different outlooks, as well as visions of knowledge of anthropology
and folklore studies.
If anthropology and folklore studies are the two major disciplinary paradigms
assembled under the heading “ethnomusicology,” a third one is presently emerging:
Scholars, who obtained degrees specifically in ethnomusicology, or in programs with
a strong ethnomusicological component, mostly in Europe (especially the UK) and
the USA. Although they do not form a cohesive group, and it is too early to assess
their work as they have not yet published substantially, there are some features that
mark them out: They trace their disciplinary lineage in a distinct scholarly geneal-
ogy; their training combines musicological with anthropological emphases; besides
academics, they may also be music performers who in fact came to ethnomusicology
through the study of a (usually) non-Greek musical tradition.
The meeting of these three paradigms is reconfiguring the dynamics in the field
of music studies in Greece, and may yield new developments. Today, ethnomusicol-
ogy is gradually becoming grounded, but is also becoming localized in Greece, and
a few students are now conducting PhD research in Greek departments, absorbing
elements from all three paradigms. Through this cross-fertilization, Greek ethnomu-
sicology is in a process of becoming.
3. Antecedents: Ethnomusicologically-Oriented Research in and of Greece
This section provides a critical overview of research undertaken by Greeks and/

or of Greece over the last two centuries. I trace the historical trajectory of music
folklore studies, seeking to contextualize the emergence of ethnomusicology within
the Greek history of ideas. In Greece, as elsewhere, the West/East dipole played a
central role in the project of nation building and the construction of a Greek national
identity (see Clogg 2002:46-97; Herzfeld 1986). The cultural materials used for its
symbolic assemblage by members of the intelligentsia were classical Greek culture,
viewed as both the forerunner and ideal goal of European, and thus modern Greek,
civilization; and Byzantine and Ottoman Greek cultures, viewed as eastern others
associated with decay and backwardness, and therefore suppressed by the official
state over much of Greece’s modern history. (Although nowadays Byzantine culture
has been largely rehabilitated, Ottoman culture remains a controversial area in of-
ficial narratives of Greek cultural history.) As with other intellectual activity, music
research too was implicated in the active generation of the modalities and symbolic
content of this dipole. It focused predominantly on the rural populations, folk music
seen as embodying the true Greek spirit.
Many of the first nineteenth-century collections of Greek folk song or dimotiko
were published by foreign scholars and/or travelers,13 who operated in the intellectu-
al and ideological context of European romanticism where notions about the people/
nation as the repository of the national soul were prevalent, and of philhellenism,
seeing their work as actively supporting the Greek cause by bringing attention to
modern Greeks as the worthy descendants of ancient Greeks (see also Politis 1984).
Greek interest in the study of folk song gained momentum especially in the late
nineteenth and early twentieth centuries with the emergence of the academic study
of Greek folklore, or, in Greek, laografia (lit. “writing about the people” where laos
means people/folk/nation, especially the “common” people), which was intimately
linked to the project of nation building and the goal of articulating the doctrine of
cultural continuity between modern and classical Greece. As many cultural projects
based on the premises of European nationalism, folklore studies in Greece similarly
favored the investigation of language, drawing heavily from philology (treating lan-
guage as text) and archaeology (treating language as monument).14
The early twentieth century saw the consolidation of musical folklore, with re-
search becoming more ethnographically-grounded and scholars drawing from musi-
cology in their study of Greek folk song. Short field trips were organized for the col-
lection of sound material, which was transcribed and/or recorded in situ. Additional
data collected during such expeditions mainly seems to have served the complemen-
tary goal of ensuring that the sound object was accurately documented and classified.
Such research produced a number of notated and occasionally harmonized folk song
collections, as well as musicological studies, that involved an analysis of form and
structure, and shared with studies in other areas of folklore a philological inclination
(music as text to be analyzed) and ideological concern with cultural continuity (e.g.
Baud-Bovy 1935, 1958; Merlier 1931; Pernot 1903; Psahos 1910, 1923, 1930; Siga-
las 2002). The material collected was deposited in cultural institutions and archives
founded during the interwar period for the preservation and dissemination of Greek
culture and/or music, specifically: the Folklore Archive of the Academy of Athens;
the Society for the Dissemination of National Music; and the Musical Folklore Ar-
chives. To these were added after WWII the Lyceum Club of Greek Women and the
Greek Dances; the Dora Stratou Society; the Peloponnesian Folklore Foundation
“V. Papantoniou;” the Institute for Mediterranean Studies in Crete; and the Fivos
Anoyanakis Museum of Popular Instruments – Research Centre for Ethnomusicol-
ogy.15 During the post-war period, the field research carried out with their support
produced more literature on folk music and/or dance, with some texts departing from
the earlier musicological format by centering on the actual performers and perfor-
mance practice, and providing descriptions derived from ethnographic observation
(Anoyanakis 1974, 1991; Mazaraki 1984). Substantial work was also carried out
toward the documentation (and teaching) of Greek folk dances.
On the whole, the musical folklore scholarship, which is deemed to be authori-
tative, has remained focused on the origins, morphology, and classification of folk
song. Studies have foregrounded notions of authenticity and locality, and have, with
few exceptions, excluded urban/popular parts of local repertoires. Evolutionist and
essentialist assumptions have spawned representations of the rural people as a native
other locked in an earlier (cultural) time and place, thus ensuring their vital broker-
ing role between the idealized Greek ancestors and modern urbanite Greeks, who
asserted themselves as modern Europeans. Rebetiko and other urban popular cul-
tural forms, which drew upon Ottoman traditions, on the other hand, have generally
been ousted from scholarly study, their Greekness consistently called into question
throughout the twentieth century (Kallimopoulou 2009:15-33; Pennanen 2004).
Overall, Greek scholarly interest in the study of non-Greek musical cultures has
been scant and largely confined to the geographical areas under the cultural sphere
of the Ottoman Empire. Musics of the various Balkan and Turkish peoples, who
partook in its cosmopolitan culture, were for the most part excluded as musical oth-
ers, or studied with a view of appropriating them as part of an enlarged Greek musi-
cal canon or of delineating national cultural borders (see Kallimopoulou 2009). A
notable example is Simon Karas, whose thesis drew Ottoman musical culture into
an enlarged schema of Greek national music, that stretches back in time (ancient
Greece—Byzantium—modern Greece) and place (Greek mainland—Asia Minor—
the Middle East). The tendency to view “eastern” idioms as parts of a Greek cultural
continuum can also be seen in the small corpus of recent theoretical texts, which
either re-examine or restate the case through a comparative discussion of, variously,
ancient, Byzantine Greek, and other Middle Eastern modal systems (e.g., Amargia-
nakis 1985; Kypourgos 1985; Mauroeidis 1999), as well as in current popular music
discourse.
Conversely, the ethnomusicological investigation of areas beyond the geographi-
cal and cultural premises of the Ottoman Empire is only very recently gaining mo-
mentum (e.g., Balandina 2005; Papapavlou 2003). This type of research comes
mostly from those Greek ethnomusicologists or anthropologists described in the
first section, who have also produced studies of neighboring cultures considered on
their own merit, instead of as part of an enlarged Greek cultural field (e.g., Poulos
2006), and studies of Greek musical cultures with an anthropological (Panopoulos
1996, 2003b; Theodosiou 2003, 2007), or a more critical approach in relation to ear-
lier scholarship (Kallimopoulou 2009; Tragaki 2005, 2007). This recent scholarship
of the 2000s falls back on a corpus of work by Greek and foreign anthropologists,
who, particularly since the 1980s with the growth of anthropology in Greece, have
been giving new impetus to the cultural study of music in Greece.16 Some main traits
characterizing all this work are: prolonged and in-depth fieldwork; understanding of
music as a culturally and socially situated practice; and emphasis on performance,
process, and human agency. Some recent research has assumed an interdisciplinary
perspective with contributions from various branches of the social sciences (Ch-
touris 2000; Syllogos 1999).
4. In Search for Enabling Environments…
A few weeks ago, a woman telephoned me, requesting information about the Music
Science and Art Department at the University of Macedonia. Her son, she explained,
plays the ud and wants to devote himself to it. Their dilemma was whether to aim for
the Music Department at the University of Macedonia, or that at Athens. The former,
the son’s “preference,” is performance-oriented and includes a specialization/direc-
tion in Greek traditional music. There, besides other theoretical and performance
courses, he would receive personalized instruction on the ud, leading to a “Degree
from the Department of Music Science and Art, Direction of Greek traditional (folk)
music, ud Specialization.” He would thereby be qualified as an ud teacher, or as
a teacher of Greek traditional music in public secondary music schools. But how
many such posts will become available in the future? What alternative prospects
might there be? Was the degree as prestigious as a degree in music studies with a
focus on western musicology? Might the narrow focus on Greek traditional music
hamper his educational or professional progress? Meanwhile, the Department of
Music Studies at the University of Athens, the mother’s choice, is theory-oriented
and focuses mainly on European classical music and western musicology. Here, the
degree constitutes a more mainstream and, thus, “safer” option: The son could seek
employment as a teacher of music theory in mainstream or music schools, even
though competition might be high and the job remote from his own interests. On the
other hand, might his broader training open more possibilities for the future, should
the ud cease to monopolize his affections?
This telephone conversation, which encapsulates the agonies of many Greek
families over their children’s future, provides the backdrop to the next section, which
similarly attempts to provide a comparative examination of the aforementioned two
departments, but here in terms of the extent to which they provide enabling environ-
ments for studying ethnomusicology. I chose the two departments, as they contrast in
terms of their emphasis on practice/theory and Greek/European music; furthermore,
the former department typifies the somewhat secondary role of ethnomusicology
within most music and anthropology departments, whereas the latter is unique in
having recently established an administrative sector for ethnomusicology and cultur-
al anthropology. In short, both departments give a fairly good picture of the diverse
academic environments that host ethnomusicology today.17
4.1. The Music Science and Art Department, University of Macedonia
My acquaintance with the Music Science and Art Department at the University of
Macedonia came when I successfully applied there for a post as lecturer in ethnomu-
sicology. I arrived at Thessaloniki, Northern Greece, having spent some eight years
in London, where I studied ethnomusicology at the School of Oriental and African
Studies, University of London, with intermittent trips to Athens, my “home” and the
field of my PhD research. Doing fieldwork at home was (to me) an intense experi-
ence, that involved constant dislocations and relocations, as I confronted familiar
realities with distanced, academic eyes, and shifted perspectives from my earlier,
deeply felt identity as a musician to that of a trainee scholar. What particularly struck
me whenever I returned home and during the writing of my thesis was how hard it
was to disengage from the politics of everyday life, and from personal and inter-
personal commitments and connections. In many ways, the experience of teaching
at home parallels that of doing fieldwork at home. In fact, teaching is a field, one
in which I find myself once more involved as both protagonist and observer. Here,
though, resisting the politics of engaging seems (to me) to be an almost impossible,
but also inappropriate task. Having come in contact with the multicultural discourses
and social fabric of a former colonial power, it is challenging to get to know also
local ethnomusicological discourses formed in the European periphery. I feel both
deeply implicated as participant and observer, scholar, teacher, and narrator, and
obliged to keep engaged, while positioning myself within this shifting terrain.
Arriving in the Music Science and Art Department at the University of Macedo-
nia (MSAD), Thessaloniki, I found that it is a department geared primarily toward
musical performance, as highlighted in the programmatic statement: “Considered
in historical context, [MSAD] inaugurates the development of the art of music at
university level, contributing actively to the promotion of Art Education in our coun-
try.”18 The department contains four curriculum sections, for which the Greek term
is “directions” (kateuthynsi, pl. kateuthynseis): European (classical) music, which is
by far the largest in terms of both students and teaching staff; contemporary music;
Greek traditional music; and Greek Orthodox church music. (The last two sections
are relatively unusual in the context of Greek higher education.19) Some courses are
offered across these four curriculum directions, while other courses are more distinct
to the respective subject area, yet can also be taken as options by other students not
specializing in this area.
Each curriculum direction is further sub-divided into specializations in either
singing or instrumental practice, in which case compulsory courses are centered on
performance (e.g., instrument/voice instruction, ensembles, etc.) and offered along-
side courses on the theory and history of the respective music. Alternatively, a third
specialization is (so-called) “applied music studies,” whereby instruction in instru-
mental practice or singing holds a secondary place, and the emphasis is instead on
theoretical courses. The scope and breadth of the applied music studies specializa-
tion differs from one direction to the other, being markedly wider in the European
music direction (courses include introductions to the theory and history of both Eu-
ropean classical and Greek music, music pedagogy, acoustics, research methodol-
ogy, and ethnomusicology), than in the Greek music direction (where, e.g., western
music is not covered).
As mentioned previously, MSAD grants a single degree, which indicates the di-
rection (e.g., Greek traditional music; contemporary music) and specialization (e.g.,
lute; violin; applied music studies). Depending on the final qualification, and with it
the direction and specialization taken, graduates are qualified to promote the music
of their respective direction in the fields of applied art studies, and typically work
in various professions in music education, research and cultural centres, the media,
and the church.20
Interestingly, ethnomusicology only began to appear here in 2000/2001 when a

course, that contained elements of ethnomusicology, was first offered under the head-
ing “Ethnomusicology and folklore studies” (I and II), and was changed after three
years to “Introduction to ethnomusicology.” Only recently, in 2008, the department
established a lectureship in ethnomusicology, thus placing ethnomusicology firmly
into its program of study. My own role in the department since then implies the im-
plementation of an ethnomusicology that is founded on a certain geographical focus,
namely an ethnomusicology of Greek music (as the equivalent to a musicology of
western music). Thus, my teaching duties revolve largely around Greek music: Apart
from the aforementioned course entitled “Introduction to ethnomusicology,” which
is offered to students in all four directions, but is compulsory only for students spe-
cializing in applied music studies, all my other courses originate and are part of the
Greek music direction, including a course on “Greek popular instruments;” a course
on selected musics of Greece (both are compulsory); and a course on “Themes in
Greek folklore studies” (optional). In addition to training in ethnomusicology, my
post thus requires proficient knowledge of Greek musical practice, theory, and schol-
arly literature. It is worth asking how an ethnomusicological approach can enrich the
teaching of such courses, and what sort of approach this should be.
As indicated, the curriculum in the Greek music direction centers almost entirely
on Greek music. The theoretical courses focus on its history (traced from classi-
cal through Byzantine to modern Greece), form, and structure, with emphasis also
on poetic meter and rhythm, as well as on regional idioms. The name of the direc-
tion itself, “Greek traditional (folk) music,” may be perceived by some as invoking
a folkloristic understanding of folk tradition as a privileged and reified domain of
national cultural capital. Given the ideological legacy of the study of Greek music,
this is hardly surprising. The importance placed upon the transmission of Greek
folk music by those who instituted the direction is better understood if one consid-
ers that Greek music was never the object of methodical collection, documentation,
and dissemination by the state’s cultural apparatus and researchers, as happened in
nearby states, such as Turkey or Bulgaria. To date, there is no higher education mu-
sic academy with a focus on Greek folk music, while the diplomas for performance
of Greek popular instruments, that some private conservatoires issue, are not offi-
cially recognized by the state. The systematic teaching of Greek music only entered
public secondary education in the late 1980s, with the aforementioned establishment
of special music schools.
The following incident demonstrates a prevailing view held by some scholars
within MSAD’s Greek music direction. During a recent conference hosted by MSAD
on the transmission of music in Greek tertiary education, a presenter examined the
benefits of “world music” alongside traditional ensembles in higher education. She
showcased the Irish World Academy of Music and Dance as a department that struck
a balance between Irish traditional music and world musics, engendering a rich cul-
tural environment for studies in both fields (Balandina forthc.). In the ensuing dis-
cussion, Ilias Papadopoulos, former Head of MSAD, who also largely led the Greek
music direction, was asked why “world music” could not develop along similar lines
at MSAD. He explained that the teaching of world musics is fine, but one should not
lose sight of one’s goal, which is to foster Greek music and tradition. Indeed, the
proposal to add a course on “world music,” which was put forward by an ethnomu-
sicologist leading the ethnomusicology course a few years ago, was rejected by the
department. Injecting a comparative approach into the curriculum was either not a
priority or perceived as antagonistic to, instead of supportive of, a program devoted
to the study of Greek music.
Meanwhile, an examination of “Introduction to ethnomusicology,” a course taken
mostly by students of the European music direction, raises different sorts of issues,
which concern especially the pedagogical methods and tools for the effective trans-
mission of ethnomusicology. In my experience, MSAD students often find it easy to
comprehend those ethnomusicological topics that touch on the structural aspects of
music, yet theoretical concepts related to an understanding of music as culture pres-
ent a greater challenge. This may be so since MSAD is regarded as equivalent to an
arts department, while its members of staff are usually music performers. Because
the department is geared toward performance, relatively few theoretical courses are
included, one outcome of which may be that precedence is given to the transmis-
sion of a pre-composed corpus of knowledge. The teaching of ethnomusicology in
such an environment is challenging, because it requires students to develop critical
thinking and essay writing skills. The problem is augmented if one considers also
the lack of ethnomusicological literature in Greek, both original and translated,21
which makes it necessary to rely on English texts. The introduction of courses, such
as anthropology, new musicology, cultural studies, which promote reflexivity, analy-
sis, and familiarization with theoretical concepts, would be a positive step toward
developing students’ theoretical and analytical strengths. Better results yet would
be achieved through the distribution of such courses across the four year program,
according to increasing difficulty. Such courses might also contribute to the broad-
ening of students’ horizons by encouraging an open outlook toward other musical
cultures and, thereby, a reflexive consideration of their own music.
A focal pedagogical aspect of ethnomusicology is the integration of musical
practice. Ethnomusicologists have often stressed the importance of learning to per-
form as a research and/or teaching technique (variously Baily 2001; Blacking 1967;
Hood 1960; Krüger 2009:113-53; Solís 2004). Kisliuk and Gross note how learning
to sing and dance in new ways challenges “the distancing that takes place in much
disembodied scholarship” (2004:250). My own experience at SOAS as a teaching
fellow bore this out:22 Beside an introductory course in ethnomusicology, I taught
the “Music of the Middle East” and the “Ensemble of Middle Eastern music.” Stu-
dents who took both courses were generally better placed to grasp key concepts of
Middle Eastern traditions. Aspects of form, melody, rhythm, and instruments that
were taught in one course were experienced first-hand in the other. Conversely, ques-
tions raised as a result of hands-on practice could then be taken up in the music
of the Middle East class. The ensemble performed twice in London venues, while
transmission in class aimed (beside musical basics) at encouraging students to ex-

periment creatively with the music material. Indeed, students were motivated, and
their knowledge was formed through an intimate, empirical relationship with Middle
Eastern music, achieved through socialization with their peers.
By contrast, at MSAD, ethnomusicology is taught as a theory course. Yet a more
performative, hands-on ethnomusicology would be better adapted to the character
and orientation of the department. Here, besides ensembles focusing on Greek mu-
sical idioms, the Greek music curriculum offers courses like “Ottoman music en-
semble” and “Balkan music ensemble,” reflecting the noteworthy, though hardly
surprising fact that contact with other cultures involves, as with earlier representa-
tions, mainly neighbouring cultures, which are perceived as connected with Greek
musical cultures. Yet these ensembles reflect especially the outlook and interests of
a younger generation of lecturers in the Greek music direction, who are professional
musicians and may also hold degrees in music studies, some also being PhD candi-
dates in music. This younger generation of scholars does not necessarily share the
vision of an idealized Greek music tradition, and in conversations during informal
meetings some have voiced concerns about a museum-like treatment of Greek mu-
sic within this direction. This reality reflects the discrepancy between the direction’s
rhetoric and official representations, on the one hand, and the actual dynamics gen-
erated in class, on the other.23 Interestingly, this latter resonates mostly with those
teachers’ experiences, who, as performing musicians, interact frequently with musi-
cians from a variety of music scenes, styles, and (especially Balkan) countries. Their
admission into MSAD may give new momentum to the Greek music direction, with
the potential for convergence and beneficial exchange between ethnomusicologists
and musicians across musical styles and genres.
4.2. The Department of Music Studies, University of Athens
The Department of Music Studies at the University of Athens was the first music
department to establish positions in ethnomusicology. Today, it numbers six D.E.P.
members trained in ethnomusicology or anthropology.24 They are attached to the so-
called Sector of Ethnomusicology and Cultural Anthropology (SECA), which is one
of three “sectors” making up the department, the other two being Western European
Music, Historical and Systematic Musicology; and Sound Technology, Byzantine
Music, and Music Education. Unlike directions and specializations, sectors are ad-
ministrative divisions, which are not indicated on the degree certificate. There is a
single departmental curriculum that includes compulsory courses; compulsory op-
tional courses (a group of courses from which the student is obliged to take one); and
optional courses, which come from across all three sectors, yet the sector of Western
European music has the largest number of academic staff and thus contributes the
highest number of courses. Although SECA may well develop into a focal center for
ethnomusicology (at least by Greek, or even European standards), at the moment of

writing, this sector does not produce graduates specializing in ethnomusicology.
An examination of the curriculum reveals that besides ethnomusicology, which
is offered in a compulsory course, there are a number of other courses, which are
interrelated in their theoretical orientation: anthropology of music (compulsory); an-
thropology of dance (compulsory optional); introduction to cultural anthropology;
urban popular music; and ethnographic film (optional). In this way, a more favor-
able environment is established for the transmission of theoretical concepts and ana-
lytical tools of ethnomusicology. As far as the study of musical cultures outside of
western classical and Greek music is concerned, SECA contributes intermittently
courses on Indian, Arabo-Persian, Ottoman, Mediterranean, and flamenco music.
These, however, are optional courses, so it is hard to assess their actual input in the
study program. The department is theoretically oriented, as its syllabus emphatically
declares,25 which is reflected in the curriculum. The sole performance course is a
compulsory course on tampouras, a non-tempered long-necked lute found in varia-
tions in Greece, Turkey, and the Balkans. Also available are three music ensembles
on western music genres and Greek church music, but these operate on an extracur-
ricular basis.
SECA, in particular, offers courses on the cultural study of music that draw upon
anthropological and ethnomusicological theory; and courses on Greek musics as
area studies, notably “Greek folk music,” “Greek popular instruments,” “Dance in
Greece,” “Greek urban popular music,” and “Greek song in the 20th century.” This
combination arguably reflects the diverse profile of the department, which hosts
scholars from all three disciplinary paradigms outlined in this article. Despite the
insertion of a number of world music courses, as in MSAD, here ethnomusicology
is similarly (but less so) linked with Greek music, which attests to the prevalence of
the association between the two. The choice of tampouras as the sole compulsory
instrument is a characteristic case in point. Tampouras was a key instrument in the
implementation of a Greek national music canon in the teaching of Greek music in
public music schools.26 Its introduction in the Department of Music Studies should
be interpreted as a result of strategic choices to attract students aiming for employ-
ment in music schools upon graduation, but also shows the endurance of ethnocen-
tric ideologies to the present day. Pavlos Kavouras, Head of SECA and until recently
Head of the department, plans to strengthen the performance component by creating
ensembles of Indian classical music, Middle Eastern music, and rebetiko, yet his
more immediate and easily realizable goal is to expand the range of Greek instru-
ments offered through an affiliation with the Fivos Anoyanakis Museum of Popular
Instruments.27 Appending ethnomusicology onto Greek and related musical cultures
at SECA may thus be seen partly as the result of practical and financial consider-
ations (e.g., lack of teaching staff specialized in the teaching/performance of world
musics). But one can arguably infer the presence here of the enduring apprehension
about how to accommodate cultural fields beyond Greece and its surrounding areas,
which have formed the main focus in modern Greek intellectual history.
More generally, a deeper examination of the two departments reveals a consis-

tent tendency to construct “an ethnomusicology of Greek music” by connecting eth-
nomusicology with Greek music. A possible explanation is that, when music studies
were institutionalized in Greek tertiary education in the 1980s, the study of western
music as an academic enterprise was imported complete with its disciplinary lin-
eage, scholarly literature, and research methods. Yet the academic integration of
Greek music as a field proper (and not as one of many research areas for folklore
studies) that first occurred in the 1980s created a new dynamic.28 The D.E.P. mem-
bers of the Greek music direction at MSAD, for instance, who are first and foremost
musicians, may not necessarily identify fully with the scholarly tradition of folklore
and its history of “authoritative” appropriations of local musical practices. Indeed,
at MSAD, ethnomusicology is arguably constructed via an unspoken expectation of
generating a renewed, and perhaps less covertly ideological, theoretical frame for
the teaching and research of Greek music. At any rate, if the pairing of ethnomu-
sicology and Greek music is indeed gathering momentum at present, the challenge
for ethnomusicology would seem to be to inject the study of Greek music with a re-
flexive component. From my experience in class so far, students in the Greek music
direction often find it hard to consider notions such as “tradition” and “authenticity”
as cultural constructs; even more challenging is it for them to grasp the implications
in terms of their own, mediating role as musicians/academics.
The juxtaposition of the two departments also suggests that the full potential of
ethnomusicology has yet to be realized in Greek formal education. Firstly, perfor-
mance can assume a more central role in ethnomusicological teaching and research.
Secondly, the introduction of courses in world musics (e.g., in the case of MSAD)
and the broadening of the geographical scope beyond the Middle East and Asia (e.g.,
in the case of the Athens department) would enrich students’ experiences and facili-
tate a mode of inquiry that blends musical and cultural perspectives. In the next two
sections, I explore these two points further.
5. Musical Divides, and the Heated Politics of “Performance”
When I first returned to Greece and grappled with acquiring a Greek ethnomusico-
logical vocabulary, I was perplexed with the controversy that surrounded the transla-
tion of a seemingly straightforward word: “performance.” In Greece, epitelesi (the
customary term employed by Greek anthropologists for “performance”) is often
used by those wishing to stress the cultural context of music-making, while ektelesi
(lit. “execution,” in both senses of the English word) is preferred by musicians, as it
puts the emphasis on music as a structural and physical phenomenon. The two terms
reflect different views about what is important in music and, ultimately, differentiate
between distinct musical ontologies. The terms also mark a conceptual divide be-
tween the worlds of “doing music” and “talking about music,” or of music and logos
about music, perceived to be inhabited by musicians and scholars, respectively. At
stake here is who has the tools and authority to perform music and/or know about
music.
This antagonism is cast in institutional terms through a battle over the delinea-
tion of individual music departments as either pro-academic or pro-performance. A
presidential decree, granting full academic membership to musicians with substan-
tial concert and recording output to compensate for the absence of a PhD degree,
adds to the existential confusion and employment anxiety of music practitioners and
scholars alike. For instance, some members of the Athens department abstain from
elections for posts, in which the contentious decree applies, thus in effect taking a
stance against it. The debate spills over into neighboring domains. For example,
my own profile as practicing musician in the field of Greek/Turkish music carried
some weight in the success of my application for the lectureship in ethnomusicol-
ogy at MSAD. Because this was a theoretical post where the general rules applied,
some members of the electing panel (especially from outside MSAD) questioned
how legitimate it was to assess ethnomusicologists also on the basis of their music
performance skills. As the age-old divide between artist and critic is being played
out in Greek music departments, what seems essential is to ask how productive it is
to ignite a debate on this, and whether the artificial dichotomy between “art/praxis”
versus “science/theory” can converge in a quest for common ground.
To return to the discourses and practices surrounding “performance,” ethnomu-
sicology as a heterogeneous field that fosters the different approaches delineated
earlier, is well-placed, it seems, to act as a mediator between the two opposites to
explore the theoretical and methodological possibilities offered at its intersections
with anthropology, folklore, and music, both because of its dual musical and cul-
tural emphasis and because ethnomusicologists often combine a scholarly with a
musical training. For the moment, though, the institutional place of ethnomusicol-
ogy in Greece is rather precarious and highly context-dependent, its content being
prescribed by the strategic goals and underpinning ideologies of individual depart-
ments, as these are set out in their curricula and employment policies, and deter-
mined by interdepartmental power relations, as these are shaped by disciplinary and
geographical centers and peripheries. In carving a place for themselves in the music
or anthropology department, ethnomusicologists need to address departmental ex-
pectations and perceptions about what ethnomusicology is, and to accommodate
at the same time their own needs and goals. The transmission of ethnomusicology
thus presents varied challenges, depending on the department, but also opportuni-
ties for developing one’s teaching approach, methods, and skills in order to respond
to the needs of different student and department profiles. Theory-oriented music
departments are better suited for the theoretical transmission of ethnomusicology,
while performance-oriented ones can transmit a more performative ethnomusicolo-
gy. In anthropology departments, meanwhile, challenges may emerge from students’
(sometimes total) lack of familiarity with music.
As regards the efficacy of music education, a thorough examination would need
to look beyond curricula and official program statements. Well-drafted curricula are
often compromised in their implementation by a series of factors, for instance a con-

stant renewal and changes in teaching staff; a lack of coordination among teachers as
to the teaching contents and methods; institutional limits related to admission poli-
cies and criteria, as these are set out by the ministry of education; and students’ lack
of motivation, which may derive from their disenchantment with the education sys-
tem (see Bakalaki 2006). A further, crucial component in the evaluation of programs
of study is their resonance with the labor market, asking questions, such as: How
does a graduate’s profile relate to market needs? Should curricula train music teach-
ers, performers, and researchers, or provide a broad training which encompasses
all three? How many music graduates can Greek schools absorb as teachers? What
other career options are there, and do departments prepare their students adequately
for these? What are the students’ expectations, and how are they met? Do they find
employment, and where? Indeed, an ethnography of students’ views and careers
would make a fascinating topic for future research.
6. Ethnomusicological Futures? Reflections on a Socially Engaged

Ethnomusicology
While we music specialists contend over the institutional identity of ethnomusicol-

ogy and, more broadly, over the study of music in Greece, might we be missing the
point? Is there an ethnomusicological point to make here? Let us return to ethno-
musicological basics: the study of music in society and of society in music. Can
ethnomusicology be made relevant to music and society? How is ethnomusicology
brought into (Greek) realities today? What contribution, pedagogical, educational,
political, if any, can it—should it—make in academia and society at large?
Greek ethnomusicological representations of cultural others are also shaped by
conspicuous absences: migrant communities that formed in Greece particularly since
the 1990s, including neighboring peoples, whose historical/cultural interaction with
Greeks is subdued in official Greek historiography and popular representations (Al-
bania, FYROM), but also economic migrants from Southeast Europe (e.g., Poland,
Romania) and more remote places (Pakistan, the Philippines, etc.).29 Although their
musical cultures too may variously fall back on a shared Ottoman cultural heritage
or on prestigious classical or other music traditions, they do not figure high on the
ethnomusicological agenda, and seem destined to exclusion from the planning of fu-
ture courses and ensembles in Greece. Yet, these are the communities with whom the
Greek host society has to engage. Ultimately, the question is what kind of mono- or
multiculturalism does Greece want?
Since its introduction into Greek music and anthropology departments, ethno-
musicology has provided an academic and conceptual field, in which the competing
discourses and practices of musical folklore and anthropology have been played
out. The two intellectual traditions arose from distinct (but complementary) his-
torical experiences, nation-building, and colonial encounters respectively, and the
emergent need to deal with the other at home and faraway, and to define the self in
relation to the other. To Greek folklore studies, which assumes an ethnocentric ap-
proach, ethnomusicology offers an operational tool, a more fashionable label, under
which to carry on with the study—and policing—of “Greek music.” The majority of
Greek anthropologists, who chose to conduct fieldwork at home, were motivated by
their disillusionment over the ethnocentric discourses dominant in Greece (Bakalaki
2006:261); to them, ethnomusicology may provide reflexive views of other and self
through one particular cultural field, that of music. These two paradigms of locally-
produced knowledge on Greek culture bequeath ethnomusicology with a rich legacy
and some well-honed tools with which to grow. Ethnomusicology “at home” has
great potential if it can grow reflexively.
Indeed, the attraction of cultural relativism as a method of inquiry and tool for
cultural critique would appear more resonant with the current needs of Greek soci-
ety, whose rapidly changing demographic, cultural, and social fabric is transform-
ing it into a multicultural society. That said, it could be argued that a wholesale
embrace of cultural relativism may also legitimize a politics of non-engagement
among different ethnic communities, thereby, in effect, perpetuating ethnocentrism.
A way round this may be to embrace cultural advocacy as a method for the study,
research, and teaching of musical cultures at home. Working with migrant commu-
nities in Greece through praxis-oriented projects and participatory methodologies
that involve, for instance, fieldwork and musical performance can engage students
with members of these communities, thereby promoting exchange and dialogue
between them and with the broader host community, while providing “a platform
for people to address issues of identity, meaning, and community building” (Impey
2006:404).30 Such an ethnomusicology of social engagement could also increase the
public outreach of music departments and connect them with the local community.
Musical performance can play a central part in such an approach through the forma-
tion of ensembles, in which both students and members of the heritage communities
participate.31 The third ethnomusicological paradigm described in this article, which
incorporates musical performance as method and approach, can make a special con-
tribution in this field, thereby acting as catalyst in order to generate new ethnomusi-
cological initiatives.
7. Brief Conclusions
The starting point of my inquiry was to examine ethnomusicology in the Greek

university from the point of view of a contextual and culturally constructed sys-
tem. Greek ethnomusicological meanings have shown to be particularly fluid and
plural. But they are not inconsequential: As I have hopefully demonstrated, they
have shaped (as they have been shaped by) and continue to shape departmental poli-
cies, career strategies, cultural attitudes, and beliefs. Yet to return to my telephonic
dilemma, do such meanings and the realities that they generate provide answers to
the mother’s question? It would appear not. How, then, should I answer her? That
the comparison is premature? That the two departments are of a different kind, and
thus incomparable? That MSAD may be better suited to those wishing to specialize
in performance, whereas SECA to those more theoretically-inclined? A number of
possibilities present themselves. But I would be reluctant to offer any. They too may
fail to resolve the uncertainties that currently characterize Greek tertiary education
and its connection to the labor market. A rift seems to be forming between the practi-
cal demands of students and their families for an education that will deliver a career,
and the academic deliberations over disciplinary definitions and goals. Until this rift
is healed in Greece, I fear that the study of the meanings and realities generated by
ethnomusicology (or other academic ologies for that matter) will remain academic
in all senses of the word.
Notes
1 I wish to thank Panagiotis Poulos, Aspasia Theodosiou, Chris Williams, and the volume’s re-
viewers Patricia Shehan Campbell, Alvin Peterson, and Simone Krüger, for their valuable com-
ments to earlier drafts of this article; Pavlos Kavouras, Giorgos Kokkonis, Lambros Liavas,
Irene Loutzaki, Panayotis Panopoulos, and Dafni Tragaki, with whom I conducted interviews;
administrative staff Efrosyni Toumpa, Sofia Koutsafti, Maria Tsapakidou, Vagia Oikonomou,
Popi Hatzilazaridou, and Emmi Avramidou, who offered information about their respective
university departments; and my students and colleagues, who stimulated thoughts and reflec-
tion.
As I am making the final corrections to this article, the Greek government is announcing sweep-
ing reforms of the administrative, legislative, and economic regime in higher education which,
if ratified, will radically alter its system and structure. For the moment, government cuts to
university funding are severely hampering long-term planning on the part of institutions and
departments. A general state of uncertainty over the future of Greek tertiary education provides
the backdrop for this discussion.
2 See Dionyssiou 2002; Kallimopoulou 2009; and Kyriazikidou 1998 on public music schools,
and Simos 2004 on Greek music education.
3 The debate can be followed on specialized forums and blogs; see especially http://www.
rembetiko.gr/forums/archive/index.php/t-21073.html, accessed 19 August 2010.
4 The reforms currently under way, such as the implementation of the ECTS and the formation
of the Greek HE Quality Assurance system, aim at achieving full compliance with the Bologna
Process. Still unresolved is the status of private universities, which presently operate in Greece
but are not officially recognized by the state. For detailed up-to-date information about the
Greek education system, including higher education, visit the website of the Education, Audio-
visual and Culture Executive Agency: http://eacea.ec.europa.eu/education/eurydice/eurybase_
en.php#greece, accessed 19 August 2010.
5 The dates in this section are offered with some caution, as the records of certain departments
proved either incomplete or hard to gain access to, in which cases I relied on oral testimonies.
6 The two courses were taught by Jannis Kaimakis and Lambros Liavas respectively, the latter
under the subheading “Musical maps of Hellenism” (Lambros Liavas, p.i.2009).
7 Giorgos Amargianakis and Lambros Liavas respectively.

8 A postgraduate course on “Music and cultures” is offered in the Masters in Musical Culture
and Communication: Anthropological and Communicative Approaches to Music, run jointly
by the Departments of Music Studies and of Communication and Mass Media at the Athens
University. The Music Science and Art Department, University of Macedonia, is in the process
of implementing a Masters in Greek Popular Music Culture, which will include “Ethnomusi-
cology: topics in performance” as a compulsory and “World music” as an optional course.
9 At the Aristotle University (Department of Music Studies) and the University of Macedonia
(Music Science and Art Department), in the Department of History, Archaeology and Social
Anthropology at the University of Thessaly and the Technological Educational Institute of
Epirus (Department of Traditional Music), and at the University of the Aegean (Department of
Social Anthropology) respectively.
10 A short biography can be found at the website of the Fivos Anoyanakis Museum of Popular
Instruments – Research Centre for Ethnomusicology: http://www.instruments-museum.gr/de-
tails2.php?lang=1&wh=1&the1id=&the2id=12&theid=12&open1=&open2=12&thepid=192
&page=1, accessed 23 February 2010. Liavas is the Museum’s director and the person who
organized Anoyanakis’s collection of musical instruments hosted in the Museum.
11 Panayotis Panopoulos (p.i.2010).
12 The debate spawned a corpus of writings (see various entries in Etairia 2003). A main terrain
for the articulation of the difference between the two disciplines concerned cultural relativism
vs. ethnocentrism and the constitution and representation of Self and Other. In parallel, a reflex-
ive corpus of literature by Greek anthropologists was produced on home anthropology (see, in-
dicatively, Bakalaki 1997; Gefou-Madianou 1993a, 1993b, 1998; Kuper 2008; Papataxiarchis
2003) and the production of anthropological knowledge in Greek universities (see, indicatively,
Agelopoulos 2007; Bakalaki 2003, 2006; Gefou-Madianou 2000; Panopoulos 2003a; Papataxi-
archis 1999).
13 See Kallimopoulou (forthcoming) for a detailed examination of dimotiko.
14 E.g., Politis 1909; see also Herzfeld 1986, and, on the complicity of folklore studies in national-
ism as a broader phenomenon in Europe, Bohlman 2003:50-2 and Finnegan 1992:26-9.
15 Loutzaki 1994 surveys published recordings of Greek folk music and the role of cultural orga-
nizations and researchers.
16 Notable examples include Caraveli 1985; Cowan 1990; Danforth 1989; Herzfeld 1985; Lout-
zaki 1989, 2001, 2008; and Kavouras 1990, 1994, and 2005.
17 A comprehensive discussion of the transmission of ethnomusicology in Greek tertiary educa-
tion would need to consider also the cultural study of music in anthropological departments, a
task that exceeds the limits of this article.
18 http://www.uom.gr/index.php?tmima=9&categorymenu=2, accessed 28 February 2010.
19 The only other music department with a Greek focus is the Department of Traditional Music of
the Technological Educational Institute of Epirus.
20 Presidential Decree 363/1996, Government Gazette A 235/20.09.96, article 3.
21 See also Poulos forthcoming.
22 On a view from SOAS, see also Hughes (2004).
23 For a similar phenomenon in public music secondary schools see Kallimopoulou (2009:135-
45).
24 Pavlos Kavouras, Professor in “Cultural Anthropology (ethnography of traditional folk mu-
sic),” Head of SECA and until recently the Head of Department, did his PhD in cultural anthro-
pology at the New School for Social Research (and his MA in Applied Urban Anthropology at
the City University of New York), and typifies in some ways the anthropological approach in
ethnomusicology. Two more lecturers, in anthropology of dance and of performance respec-
tively, also have a solid educational background in anthropology, both with studies in social
anthropology in Northern Ireland and the UK respectively. The three posts in ethnomusicology
reflect the diversity in educational backgrounds and approaches discussed earlier: besides Lam-
bros Liavas who was presented earlier; one lecturer conducted his PhD in Ethnomusicology/
Systematic Music Sciences and his BA in Music Sciences and Philosophy at the University of
Göttingen, Germany; and the other is lecturer in “Ethnomusicology/music of the Mediterra-
nean” and holds a PhD in anthropology from the University of Leipzig, Germany, and an MA
from the Department of Social Sciences and Anthropology of non-Western societies, Leiden
University, Holland. The Athens department established recently an Ethnomusicology and Cul-
tural Anthropology Laboratory, thereby setting the administrative frame for further research
and teaching in related areas.
25 “The Department does not have an applied-artistic orientation but a theoretical-scientific one.”
It is further stated that members of staff are all “scientists holding PhD degrees in their respec-
tive subjects,” but many “are also musicians, with a significant artistic presence in Greece
and abroad.” (Syllabus 2009/2010, p.3, http://www.music.uoa.gr/www/images/docs/odigos-
spoudon-basic.pdf, accessed 28 February 2010)
26 Tampouras is the Greek name for an instrument which was earlier found in Greece but fell
out of use by the mid 20th century; today the term is used to refer to the Turkish saz, which
has undergone a process of “hellenization” before being introduced in public music secondary
schools as the compulsory instrument in the Direction of Greek traditional music (see Kallimo-
poulou 2009).
27 Pavlos Kavouras (p.i.2009).
28 A few artists and/or researchers who were active outside the field of formal education, such as
Irishman Ross Daly, also played an important role in the configuration of the field of Greek
music during this period (see Kallimopoulou 2009).
29 See Papataxiarchis 2006 for an anthropological, ethnographically-grounded discussion of cul-
tural difference in Greece today.
30 According to Impey, advocacy ethnomusicology offers the researcher of music “opportunities
for relevant social engagement, the remodeling of research foci, the expansion of multidisci-
plinary applications, and the utilization of participatory methodologies that have yet to be ex-
plored in research on performance” (2006:401; see also Seeger 2008).
31 In his introduction to Performing Ethnomusicology, Solís describes the role of academics as
“representatives or intermediaries” of the cultures whose music they teach in departmental
classes and ensembles (2004a:13). The role of musical performances as “spaces of dialogic
encounter” (Averill 2004:109) is pointed out, and also the political importance of world music
ensembles as “an axis for musical and social interaction among students and community mem-
bers” and a “powerful and affirmative statement for multiculturalism” (Rasmussen 2004:217-
8). Being places of encounter through performance, ensembles offer unique ethnomusicologi-
cal occasions into reflexive ethnography which entails a process of getting to know the self
through the other and vice versa, and the ethnography of experience which involves participa-
tion in the music practice (Cooley and Barz 2008:19-21).
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the world of music 3/2009

VWB – Verlag für Wissenschaft und Bildung

Ethnomusicology in the Academy:

VWB – Verlag für Wissenschaft und Bildung

Ethnomusicology in the Academy:

Aaron Corn Sound Exchanges: An Ethnomusicologist’s

Alvin Petersen Teaching African Musics: Personal Reflections in

Britta Sweers Toward a Framework for a Pedagogically-Informed

Samuel Araujo and Musical Knowledge, Transmission, and Worldviews:

Eleni Kallimopoulou Ethnomusicology and Its Greek Meanings: Practices,

Simone Krüger The Ethnomusicologist as Pedagogue: Disciplining

Book Reviews (Helena Simonett, ed.)

Matthew Harp Allen Christine Guillebaud, Le chant des serpents:

David F. García John Radanovich, Wildman of Rhythm: The Life

Ioannis Tsioulakis Eleni Kallimopoulou, Paradosiaká: Music,

Andrea Emberly Meki Nzewi, Israel Anyahuru, and Tom

Katherine E. Hoffman François Dell and Mohamed Elmedlaoui, Poetic

Lisa Urkevich Dieter Christensen and Salwa El-Shawan

Recording Reviews (Dan Bendrups, ed.)

Bruce Johnson The Songs of Don Henderson. Don Henderson and

Barbara Alge Traditional Russian Instrumental Music. Ulrich

Henry Johnson In That Bright World: Music for Javanese Gamelan.

the world of music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Ethnomusicology and its Greek Meanings: Practices,

Q: In this course I shall learn about…

2. Ethnomusicology goes Greek!

The appearance of ethnomusicology followed broader developments in higher

3. Antecedents: Ethnomusicologically-Oriented Research in and of Greece

This section provides a critical overview of research undertaken by Greeks and/

4. In Search for Enabling Environments…

4.1. The Music Science and Art Department, University of Macedonia

Interestingly, ethnomusicology only began to appear here in 2000/2001 when a

transmission in class aimed (beside musical basics) at encouraging students to ex-

4.2. The Department of Music Studies, University of Athens

ethnomusicology (at least by Greek, or even European standards), at the moment of

More generally, a deeper examination of the two departments reveals a consis-

5. Musical Divides, and the Heated Politics of “Performance”

often compromised in their implementation by a series of factors, for instance a con-

6. Ethnomusicological Futures? Reflections on a Socially Engaged

While we music specialists contend over the institutional identity of ethnomusicol-

The starting point of my inquiry was to examine ethnomusicology in the Greek

7 Giorgos Amargianakis and Lambros Liavas respectively.

2000 “Disciples, Discipline and Reflection: Anthropological Encounters and Trajectories,”

Solís, Ted, ed.

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