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| Greek Music Greek music is a broad umbrella for the musical traditions and popular styles of Greece, spanning from ancient theoretical lineages to contemporary pop, rock, and urban fusions. |
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| Greek Folk Music Greek folk music (Dimotiká) is the traditional song and dance culture of Greece, shaped by centuries of life in villages, islands, and mountain communities. It is largely modal rather than tonal, drawing on the maqam-echoi systems and favoring melismatic vocals, drones, and expressive ornamentation. The style is highly regional: Epirus favors slow, austere polyphonic singing and clarinet-led laments; Macedonia and Thrace feature lively gaida (bagpipe) and violin tunes; the Aegean islands and the Dodecanese emphasize lilting syrtos; Crete highlights the |
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| Dimotiko Dimotiko (Δημοτικό) is the umbrella term for traditional Greek folk music rooted in rural life, communal rituals, and dance. It encompasses a wide range of regional styles and song types - dance songs (syrtos, kalamatianos, tsamiko), narrative ballads (paraloges), laments (mirologia), wedding and seasonal songs - performed with modal melodies and rich ornamentation. |
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| Entechna Laika Entechna Laika (έντεχνο λαϊκό) is a Greek song style that blends the poetic, art-music ethos of Éntekhno with the timbres, rhythms, and vocal delivery of Laïko. |
Laiko Laïko (laïkó tragoudi) is modern Greek popular music that crystallized in the post-World War II era as rebetiko’s urban sound moved into the mainstream. |
Modern Laiko Modern laïko (σύγχρονο λαϊκό) is the mainstream, pop-oriented evolution of Greek laïko, fusing the bouzouki-led sound and modal melodies of traditional laïko and rebetiko with contemporary pop production, drum kits, electric bass, keyboards, and synthesizers. |
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| RebetikoRebetiko is an urban Greek popular song tradition that crystallized in the port cities of Piraeus, Thessaloniki, and the broader Aegean world after the Asia Minor Catastrophe of 1922. It emerged among refugees and working-class communities, drawing on Ottoman-Turkish makam-based modal practice, Byzantine-liturgical melos, and Greek rural folk song (dimotika), then transforming these into a distinctly urban sound. Typical rebetiko pieces are strophic songs led by bouzouki or baglamas, often prefaced by an improvised modal solo (taximi). Rhythms center|➔| |
RembetikaRembetika (Rebetiko) is the urban Greek popular music that crystallized in port cities such as Piraeus in the early 20th century, especially after the 1922 Asia Minor Catastrophe and the influx of refugees from Smyrna-Izmir and other Ottoman centers. It features modal melodies (dromoi) derived from the Ottoman-Turkish makam system, expressive vocal delivery, and small ensembles centered on bouzouki, baglamas, and guitar, with occasional violin, oud, or santouri. Core dance rhythms include zeibekiko (9/8), hasapiko (2/4 or 4/4), and|➔| |
EntechnaÉntechna (often written as entechno) is a Greek "art song" current that fuses Greek folk idioms and urban laïko song with Western classical orchestration and literary, often poetic, lyrics. Its musical language keeps Greek modal flavors and characteristic dance meters (such as 9/8 zeibekiko and 7/8 kalamatianos) while expanding the harmonic palette with classical voice-leading, richer chords, and through-composed or well-shaped strophic forms. Orchestration commonly blends bouzouki and other Greek folk instruments with strings, woodwinds, piano, and occasionally choir.<br|➔| |
| ÉntekhnoÉntekhno (often rendered as entechno or entechno laïko) is a Greek art-song movement that merges the melodic language and rhythms of Greek folk and urban popular music with the orchestral palette and formal ambition of Western classical music. Characterized by carefully crafted compositions, poetry-centered lyrics, and sophisticated arrangements, éntekhno places the composer and lyricist at the artistic core. It commonly sets major Greek poetry to music, uses modal melodies drawn from demotic (folk) and rebetiko traditions, and employs odd|➔| |
Neo KymaNeo kyma (Greek: Νέο Κύμα, literally "new wave") is a Greek song movement of the 1960s that blended the intimacy of French chanson with the poetic, art-song sensibility of Greek éntechno. It flourished in small Athenian boîtes (club-cafés) in Plaka, where singers performed with just a guitar or sparse ensembles. Musically, it favors soft, close-miked vocals, nylon‑string guitar, delicate piano, and light rhythm, often borrowing bossa nova and light jazz harmonies. Lyrically it is introspective and poetic - concerned|➔| |
SkiladikoSkiladiko (σκυλάδικο) is a colloquial, often pejorative label for a branch of modern laïko/pop-folk associated with Greece’s late‑night club circuit. It blends amplified bouzouki riffs and ornamented vocals with electric guitars, synthesizers, and drum machines, producing a high‑energy, melodramatic sound aimed at dance floors and all‑night venues. The style emphasizes direct, emotionally charged lyrics about love, heartbreak, nightlife, jealousy, and excess. Arrangements typically feature minor‑key ballads (zeibekiko feel), 4/4 belly‑dance grooves (tsifteteli), and brisk hasapiko-hasaposerviko numbers, often punctuated by|➔| |
| RizitikaRizitika are traditional Cretan folk songs associated with the "rizes" (roots-foothills) of the White Mountains in western Crete. They are typically sung a cappella by male voices, in a sober, stately manner, with a leader-chorus practice and little to no instrumental accompaniment. The songs divide broadly into two functional types: of the table (tsis távlas), sung at feasts and gatherings, and of the road (tis strátas), sung while traveling or marching. Texts are most often in the 15‑syllable Greek|➔| |
NisiotikaNisiotika ("island songs") is the traditional folk music of the Greek Aegean islands, especially the Cyclades, Dodecanese, and the North Aegean. It is danced and sung at weddings, local feasts (panigyria), and seafaring celebrations, carrying a bright, buoyant character that reflects island life. Core dance-forms include the flowing island syrtos, the lively couple dance ballos, and the springy sousta. Typical instrumentation features violin (often leading the melody), laouto (Greek lute) providing rhythmic-harmonic drive, tsabouna-tsampouna (island bagpipe), toumpaki (small hand|➔| |
TroparionTroparion is a short Byzantine hymn stanza used throughout the Eastern Orthodox and Byzantine Rite liturgies. Typically syllabic and concise, it encapsulates the theological theme of a feast, saint, or liturgical moment in one or a few compact stanzas. Musically, troparia are composed and sung within the Octoechos (eight-mode) system, using established melodic formulas and cadences characteristic of each echos (mode). Performance is predominantly monophonic chant, often supported by an ison (a sustained drone) in post-Byzantine practice. Texts are|➔| |
| Sticheron Sticheron (plural: stichera) is a hymn type within the Byzantine chant tradition, sung in the services of the Eastern Orthodox and Byzantine Rite churches. Each sticheron is a self-contained troparion sung in alternation with psalm verses (stichoi) - hence its name - most commonly at Vespers and Matins. Musically, stichera are monophonic and modal, composed in one of the eight echoi (modes) of the Octoechos. They range from relatively syllabic settings to more ornate, melismatic realizations (especially on great feasts). |
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| Aegean Islands Folk Music Aegean Islands folk music (nisiotika) is the traditional music of the Cyclades, Dodecanese, and North Aegean islands of Greece. It is best known for lively dance tunes like syrtos, ballos, and sousta, alongside narrative and love songs sung in a bright, ringing vocal style. The core sound is led by violin with laouto (long‑neck lute) providing rhythmic and harmonic support, often joined by tsampouna (Aegean bagpipe), santouri (hammered dulcimer), island lyra (especially in Karpathos and Kasos), and frame or goblet |
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| Ancient Greek Music Ancient Greek music refers to the musical practices of the Greek world from the Archaic period through the Hellenistic and early Roman eras (roughly 8th century BCE to 3rd century CE). It was primarily monophonic, often performed by solo singer-instrumentalists or choruses, and closely tied to poetry, ritual, theater, and civic life. Its sound world was shaped by modal systems (harmoniai), tetrachordal structures, and three genera (diatonic, chromatic, enharmonic), with tuning and intervallic ethos discussed by philosophers and theorists. Rhythm |
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| Greek Pop Music Greek pop is a mainstream style from Greece that blends international pop songwriting and production with distinctive Greek melodic contours and occasional folk-derived rhythms. It emphasizes memorable hooks, polished vocals, and contemporary arrangements that sit comfortably alongside global pop while remaining rooted in local sensibilities. Typical tracks feature bright synths, guitar or bouzouki flourishes, and danceable 4/4 grooves, with lyrics most often in Greek and focused on love, nightlife, and personal empowerment. Over time, the genre has absorbed influences from |
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| Balkan Music Balkan music is a broad umbrella for the traditional and popular musics of the Balkan Peninsula, characterized by asymmetrical (aksak) meters, modal melodies, and richly ornamented, often heterophonic ensemble textures. Typical instruments include gaida (bagpipe), kaval and zurla-zurna (flutes-oboes), tapan (large double-headed drum), tambura (long-necked lute), violin, clarinet, and - especially in brass traditions - trumpet, tuba, and baritone horn. Vocal styles range from raw, open-throated village singing to refined urban romances such as sevdalinka. The melodic language often draws 
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 Sky Division, Melodigging, Wikipedia, Pandora, Soundcloud, Discogs, Spotify, Musify, Int. Archive… and other sources |