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It is a(n) (a)manes based on the rhythmic pattern of the ballos dance.
Giorgos Kokkonis (2017: 112), categorizing the Greek-speaking (a)manedes based on their particular rhythms, distinguishes two types: type A, which, as he mentions, "represents the purely à la turca version of the (a)manes, which usually appears in two predominant forms, A1 and A2, which differ in the presence or absence of rhythmic-harmonic accompaniment", and type B, which, as he points out (op. cit., p. 115): "...differs from type A in many aspects: the overall structure, the management of vocal melodic developments, as well as the selection and use of instruments, with the corresponding effects on the melodic compositions. The main change is the replacement of the taximi (improvisation) with melodic introductions and bridges, as well as the variation of the shift at the end (ballos, chora, waltz, polka, etc.). According to the patterns of the series that we come across in dimotiko (folk) music, the ballos often defines the entire melodic and rhythmic essence, to the point that the (a)manes is characterized as 'ballos'. The singer never sings a capella, but rather always with a rhythmic-harmonic accompaniment. In fact, harmony plays a decisive role as a second axis of development, which often guides the melody." [...]
Regarding the geographical distribution of the two types of the (a)manes, he states (op. cit., p. 121) the following: "Type B, which we described, is widely identified with Smyrna (Izmir), where it has been imprinted in many recordings, in contrast to type A, which is identified with Constantinople (Istanbul)." [...]
And he concludes by pointing out (op. cit., p. 123): "Ultimately, this type of (a)manes, which we named 'type B' and which is identified with Smyrna (Izmir), constitutes an in-between place between the à la turca and the à la franga versions. It is not just a random mutation: the multitude of recordings in the USA and in Athens, as well as its subsequent aesthetic autonomy in music itself, evidences a particular stylistic field, which we could characterize as à la greca, since its implementations concern exclusively the Greek-speaking repertoire."
Tags: 1920s, Recordings in the USA, Asia Minor, Victor
It is a(n) (a)manes based on the rhythmic pattern of the ballos dance.
Giorgos Kokkonis (2017: 112), categorizing the Greek-speaking (a)manedes based on their particular rhythms, distinguishes two types: type A, which, as he mentions, "represents the purely à la turca version of the (a)manes, which usually appears in two predominant forms, A1 and A2, which differ in the presence or absence of rhythmic-harmonic accompaniment", and type B, which, as he points out (op. cit., p. 115): "...differs from type A in many aspects: the overall structure, the management of vocal melodic developments, as well as the selection and use of instruments, with the corresponding effects on the melodic compositions. The main change is the replacement of the taximi (improvisation) with melodic introductions and bridges, as well as the variation of the shift at the end (ballos, chora, waltz, polka, etc.). According to the patterns of the series that we come across in dimotiko (folk) music, the ballos often defines the entire melodic and rhythmic essence, to the point that the (a)manes is characterized as 'ballos'. The singer never sings a capella, but rather always with a rhythmic-harmonic accompaniment. In fact, harmony plays a decisive role as a second axis of development, which often guides the melody." [...]
Regarding the geographical distribution of the two types of the (a)manes, he states (op. cit., p. 121) the following: "Type B, which we described, is widely identified with Smyrna (Izmir), where it has been imprinted in many recordings, in contrast to type A, which is identified with Constantinople (Istanbul)." [...]
And he concludes by pointing out (op. cit., p. 123): "Ultimately, this type of (a)manes, which we named 'type B' and which is identified with Smyrna (Izmir), constitutes an in-between place between the à la turca and the à la franga versions. It is not just a random mutation: the multitude of recordings in the USA and in Athens, as well as its subsequent aesthetic autonomy in music itself, evidences a particular stylistic field, which we could characterize as à la greca, since its implementations concern exclusively the Greek-speaking repertoire."
Tags: 1920s, Recordings in the USA, Asia Minor, Victor
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