Greece Culture: Music and Dance Intro Page 3
The music of each region is influenced by that of neighboring regions, and songs migrate from region to region (and often
to some very far afield), transformed along the way, 'translated' as it were, into the local style, just as English
speakers say 'Athens' instead of 'Athina' (ie. Anglicizing the Greek name). Sometimes the same melody may accompany
different lyrics, and vice versa. The same dance names may describe different dances from region to region. Up until
recent decades, most village musicians (and singers) had other professions, and played for community events as they came
up, supplementing their regular income with music. Most were self taught, and though some of them learned from other
musicians, the style of learning was very different from that of formal music lessons. Many have also maintained (as have
some seasoned Greek musicians) that one does not learn from 'lessons ' but alone, from listening, watching, and by virtue
of one's passion to play. Some of Greece's best musicians made instruments as children out of whatever materials were
around, and learned by imitating what they heard (and saw), though some sought out good players and had techniques shown to
them.
Payment at such important events as weddings or baptisms often came in the form of an advance from the family hiring the musicians, in addition to sizeable tips from the lead dancers during the course of the evening, the total 'fee' having been agreed to the family beforehand. Professional musicians working at tavernas or music clubs, especially in the cities, would typically be paid a stated amount, but in many cases, especially in villages, tips from the lead dancers have often been the only payment offered musicians, in addition to food and drink. Such musicians would need to know the local repertoire very well (along with some pieces from other regions if requested), and be responsive to the demands of the dancers if they wanted to make any money.
Many musicians on the Greek mainland have been (and are) gypsies, especially in the regions of Ipiros and Macedonia, and
many of these are members of large extended families where all the males play instruments, either one or several.
It is probable that much Greek folk music would have been lost without these musicians, who were expected to have a large repertoire that included the varied local requirements within a large area, where they would be hired to play. They were/are often brought in from outside of the village where the music was/is happening, as the locals didn't learn to play these instruments, some of them considering music a low profession. The role of gypsies in preserving ancient dances and styles of both singing and playing extends to all of the Balkans. They were (and still are) especially known for virtuosity on instruments such as the zournas, klarino (clarinet), and daouli (large two headed drum) , and number among the most famous players of these instruments. Gypsies were so closely connected with music in these northern regions of Greece that the word 'gypsy' meant 'instrumentalist'. In other parts of Greece the locals do in fact learn instruments and perform.
