Reviewed by:

• Greek Music in America ed. by Tina Bucuvalas
• Dafni Tragaki (bio)

Greek Music in America is a collection of essays edited by Tina Bucuvalas, curator of art and historical resources with the City of Tarpon Springs, Florida, who has also served as a folklorist and director of the Florida Department of State. The book is meant to serve as a foundation for the study of Greek American music, which is described in the introductory chapter as an essential medium for the poetics of the Greek American diasporic community (3). This opening chapter, co-authored by Bucuvalas and Stavros K. Frangos, one of the most renowned experts in Greek American music culture, offers a broad overview of Greek music in America from 1880 to 2015. Thereafter, the book is structured in four sections organized according to historical periods and summarizing valuable information about musicians, record labels and recording activity, genres, instrument makers, performance venues, and contexts. As an overview of its subject, Greek Music in America offers a basic text for any future research on the topic by ethnomusicologists, historical musicologists, anthropologists, historians, and other scholars. [End Page 568]

Part One, "Musical Genres, Style and Content," gathers essays, mostly published between 1981 and 2008, by pioneering authors in the field. The essays involve a wide range of topics: Greek Orthodox liturgical music (Frank Desby); the café aman musical tradition (Roderick Conway Morris); the amanes genre (Gail Holst-Warhaft); a comparison between rebetiko song and the blues that expands the geographical focus to Australia's Greek music scene (Stathis Gauntlett); the life and career of one of the most outstanding Greek musicians, George Katsaros, documenting the powerful networking of traditions by the international record industry (Frangos); the exploration of the place of spoken interjections in 78–rpm gramophone recordings of Greek songs (Michael G. Kaloyanides); and the intersection of Greek and Turkish song in America (Joseph G. Graziosi). Since several of the reprinted essays are apparently less accessible today, Part One largely serves the re-surfacing of carefully selected, highly influential archival, folklore, anthropological, literary, historical, and ethnomusicological published research on the topic, while inspiring their critical reconsideration and theoretical reframing. The next section, "Places," collects chapters originally published between 1985 and 2012 (according to the information given in the Notes), including Sotirios (Sam) Chianis' essay on Greek folk music in New York, Anna Caraveli's ethnography of glendi performances, and Anna Lomax Wood's public folklore research on diasporic Kalymnian spongers' musical traditions focusing on the family of Nikitas Tsimouris. A new chapter by Panayotis League on Kalymnian music and dance in Tarpon Springs provides a fresh ethnomusicological perspective and raises questions of performance, authenticity, gender, embodiment, identification, and belonging.

The acclaimed historical recordings researcher Dick Spottswood opens Part Three, "Delivering the Music: Recording Companies and Performance Venues," with a chapter offering a highly informative documentation of Greek music recordings from 1896 to 1937. The chapter by Meletios Pouliopoulos, a dedicated music archivist, deals with the apparently understudied topic of Greek piano rolls in the United States and provides a useful starting point for those interested in studying Greek American music's technoculture in the 1920s and 1930s. Anthony Shay's chapter recounts a choreographer's encounter with Greek folk dancing, while the essay by Nick Pappas (originally published in 1981) is a lively account of New York's Greek nightclubs during the 1980s. The final section, "Profiles," offers biographical accounts of Greek-American popular musicians, instrument-makers, and individuals actively involved in the music scene; it thus forms a sort of encyclopedic corpus of entries authored by dedicated specialists. The closing Appendix by Frangos provides a detailed [End Page 569] and systematic outline of Greek music collections in the United States that is a much-needed compilation and description of the available archival sources.

Greek Music in America substantially contributes to the organization of relevant scholarship and paves the way for further investigations while hoping to attract a wider readership. Though the quantity of recent research is rather disproportionate, the book is likely to stimulate interest...

审核人：

• 美国的希腊音乐版。由蒂娜·布库瓦拉斯（Tina Bucuvalas）
• Dafni Tragaki（生物）

美国的希腊音乐是由蒂娜·布库瓦拉斯（Tina Bucuvalas）编辑的论文集，蒂娜·布库瓦拉斯（Tina Bucuvalas）是佛罗里达塔彭斯普林斯市艺术和历史资源的策展人，他还曾担任民俗学家和佛罗里达州国务院的主任。该书旨在作为研究希腊裔美国人音乐的基础，在介绍性章节中将其描述为希腊裔美国人流放社区的诗学的基本媒介（3）。本开篇由Bucuvalas和希腊裔美国人音乐文化最著名的专家之一Stavros K. Frangos合着，提供了1880年至2015年美国希腊音乐的广泛概述。此后，本书分为四个部分根据历史时期进行整理，并汇总有关音乐家，唱片公司和唱片录制活动，流派，乐器制造商的宝贵信息，表演场地和环境。作为其主题的概述，美国的希腊音乐为民族音乐学家，历史音乐学家，人类学家，历史学家和其他学者进行的有关该主题的任何未来研究提供了基础文本。[结束页568]

第一部分，“音乐体裁，风格和内容”，收集了该领域的开创性作者的论文，主要发表于1981年至2008年之间。这些论文涉及广泛的主题：希腊东正教礼仪音乐（弗兰克·德斯比）；该咖啡厅阿曼的传统音乐（罗德里克·康威·莫里斯）; 该amanes类型（Gail Holst-Warhaft）; rebetiko歌曲和布鲁斯之间的比较，将地理关注点扩展到了澳大利亚的希腊音乐界（Stathis Gauntlett）；最杰出的希腊音乐家之一乔治·卡萨罗斯（George Katsaros）的生活和职业，记录了国际唱片业对传统的强大影响（Frangos）；探索在希腊歌曲的78-rpm留声机录音中口语插入的位置（Michael G. Kaloyanides）；以及美国的希腊和土耳其歌曲的交集（Joseph G. Graziosi）。由于今天显然没有几篇转载的论文，因此第一部分在很大程度上重选了精选的，有影响力的档案，民俗，人类学，文学，历史和民族音乐学有关该主题的已发表研究，同时激发他们的批判性反思和理论重构。下一节“地方”收集了最初在1985年至2012年之间发行的章节（根据注释中提供的信息），包括Sotirios（Sam）Chianis的纽约希腊民间音乐论文，Anna Caraveli的民族志glendi表演，以及Anna Lomax Wood的公开民俗研究，主要研究Nikitas Tsimouris家族的流散性加里宁安海绵擦音乐人的音乐传统。Panayotis League在塔彭斯普林斯（Tarpon Springs）开辟的关于加里宁音乐和舞蹈的新篇章提供了崭新的民族音乐学视角，并提出了表演，真实性，性别，体现，认同和归属的问题。

备受赞誉的历史唱片研究人员迪克·斯波茨伍德（Dick Spottswood）打开第三部分“传递音乐：唱片公司和表演场所”，其中一章提供了1896年至1937年希腊音乐唱片的丰富信息文献。该章由专门的音乐档案管理员Meletios Pouliopoulos撰写。 ，处理了在美国似乎未得到充分研究的希腊钢琴卷主题，并为那些有兴趣研究1920年代和1930年代希腊裔美国人音乐的技术文化的人提供了有用的起点。安东尼·谢伊（Anthony Shay）的一章讲述了编舞与希腊民间舞蹈的相遇，而尼克·帕帕斯（Nick Pappas）的文章（最初发表于1981年）生动地描述了1980年代纽约的希腊夜总会。最后一节“个人资料” 提供有关活跃于音乐界的希腊裔美国流行音乐家，乐器制造商和个人的传记资料；因此，它形成了一种由专职专家撰写的条目的百科全书集。Frangos的结尾附录提供了详细信息［第569页］和美国希腊音乐收藏的系统概述，这是对可用档案资源的急需的汇编和描述。

美国的希腊音乐极大地促进了相关奖学金的组织，并为进一步的研究铺平了道路，同时希望能吸引更多的读者。尽管最近的研究数量不相称，但该书可能会激发人们的兴趣。