timely focus on studio production techniques and their aesthetic repercussions. Drawing on this technological emphasis, the articles in part three of the book highlight the search for the phantom of ‘Greekness’ in the remote borderlands of the popular: experimental electronic music. Part four, entitled ‘counter-stories’, explores different ways in which music has been used to either enforce or subvert dominant constructions of ‘the popular’ as a monolithic site of national consensus. Chapter 10 looks at the use of popular music as a means of political legitimation (but also as an instrument of torture) during the years of the military dictatorship in Greece (1967–1974). The following chapters consider the role of ethnic minorities in popular music: Aspasia Theodosiou offers a glimpse into the place of Roma in contemporary Greek pop, and Lambrini Styliou discusses Albanian rap made in Athens. Part five focuses on ‘present pasts’, with two articles looking at the music of the Greek islands (Crete, Ikaria) and a third dealing with the indigenous cosmopolitanism of singer-songwriter Sokratis Malamas. The volume concludes with a ‘coda’ on the international reception of Greek music by Gail Holst-Warhaft, author of the widely read Road to Rembetika (1975). Evoking the astounding popularity of ‘Zorba’s dance’ as an organising metaphor, this chapter leaves much to be desired as it addresses important and broad topics such as the Greek diaspora and the enduring presence of Greek popular music in several neighbouring cultures, with a collection of rushed anecdotes. The volume regains its vibrancy, however, with an afterword documenting a conversation between Tragaki and musician Yiannis Angelakas. Overall, Made in Greece succeeds in painting a diverse picture of ‘the popular’ in Greek music, while issuing a theoretically-minded challenge to this very category as a substantive, globally-commensurable form.

中文翻译：

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当前生态音乐学方向：音乐、文化、自然

及时关注工作室制作技术及其美学影响。基于这种技术重点，本书第三部分的文章突出了在流行的偏远边缘地带寻找“希腊性”的幻象：实验电子音乐。题为“反故事”的第四部分探讨了音乐被用来强制或颠覆“流行”作为全国共识的单一场所的主导结构的不同方式。第 10 章着眼于在希腊军事独裁时期（1967-1974 年）使用流行音乐作为政治合法化手段（但也作为一种酷刑工具）。以下章节考虑了少数民族在流行音乐中的作用：Aspasia Theodosiou 提供了对罗马在当代希腊流行音乐中的地位的一瞥，和 Lambrini Styliou 讨论了在雅典制作的阿尔巴尼亚说唱。第五部分侧重于“现在的过去”，其中两篇文章着眼于希腊岛屿（克里特岛、伊卡里亚岛）的音乐，第三篇则涉及创作歌手 Sokratis Malamas 的本土世界主义。该卷的结尾是 Gail Holst-Warhaft 对希腊音乐的国际接受度的“尾声”，他是广为阅读的《Road to Rembetika》（1975）的作者。本章以“左巴之舞”作为一个有组织的隐喻而广受欢迎，但仍有许多不足之处，因为它涉及重要而广泛的主题，例如希腊侨民和希腊流行音乐在几个邻近文化中的持久存在，并收集了匆忙的轶事。然而，音量恢复了活力，后记记录了 Tragaki 和音乐家 Yiannis Angelakas 之间的对话。总体而言，《希腊制造》成功地描绘了希腊音乐中“流行”的多样化画面，同时向这一类别提出了理论上的挑战，将其作为一种实质性的、全球可衡量的形式。