The music of the 1960s often appears on this blog—notably the Beatles, Motown, and so on. But meanwhile traditional genres were continuing to adapt; and since I also feature Mediterranean musicking (for island delights, see Sardinian chronicles, and Sicily under Italy: folk musicking), I’m reminded of the musics of Crete. *
As ever, these are largely village traditions for festivities, handed down in the family, based in dancing (syrtos, kondylies, and so on) and sung mantinadas couplets.  Though audio recordings can’t reproduce the spirit of taking part, compilations of archive recordings can be evocative. I relish
- Cretan musical tradition: radio broadcasts 1960–70 (3-CD set, Aerakis/Cretan Music Workshop, 1996),
Lyra players, 1961: left, Nikos Xilouris; right: Vasilis Skoulas.
Along with the pleasures of the recordings, the liner notes offer a window on the lives of musicians through the travails of the modern era (for more biographies, see here).
Often they came from family traditions in rural Rethimnon, spending periods in Heraklion and Athens, sometimes touring for the diaspora. Musicians include Giannis Dermitzakis (Dermitzogiannis) (1907–84) on lyra and violin, also the author of popular couplets satirising post-war Cretan society; and the blind violinist Giannis Papachatzakis (Stravogiannios) (b.1905)—here he is with a syrta from Chaniá:
In a highly macho society, the only woman performer here is Aspasia Papadaki (b.1932), the first female lyra player in Cretan music. At the age of 14 she made her own instrument; though her widowed mother persuaded Aspasia to play violin instead, by 1960 she found that she could only record for radio if she reverted to the lyra (see below). Here’s a track:
And here she is on violin, and singing, in later years:
Going back further,
- Oi protomastores 1920–1955: Kritiki mousiki paradosi (10-CD set, Aerakis, 1994) and
- The first recordings of Cretan music: original recordings made between 1940–60 (Greek folk and popular music series, 6) (Aerakis), sadly not annotated (some clues here) apart from naming the performers—mostly on violin: Dermitzogiannis, Pantelis Baritantonakis (also heard on the 1920-1955 set), Yannis Papahatzakis, and Georgis Lapokonstantakis.
Here’s the latter CD as a playlist:
As radio broadcasts and festivals on stage came to dominate the media, videos of musicking for local festivities are not easily found on YouTube, although judicious searches using the Greek alphabet may yield more results…
* * *
For all Crete’s long history of Venetian and then Ottoman occupation, the use of violin or lyra seems to have been mainly regional until the mid-20th century. What we might not notice at first when listening to such recordings from before and after 1955 is that the choice became a hotly-contested ideological issue. As we learn from
- Panayotis League, “Rewriting unwritten history: folklore, nationalism, and the ban of the Cretan violin”,
competing myths now came to portray the lyra either as bearer of the true Cretan and Hellenic identity, or as an inferior Turkish importation.
Thus the violin became an unlikely casualty in the whole troubled story of Greek–Turkish relations. Whereas it had long dominated in western Crete, the ideologically-driven musicologist Simón Karás sought to rescue Greek music from “the tastes of people who play heinous foreign music that feminises and stupefies the youth”—a common lament among dictators, such as Salazar and Mussolini (cf. foreign music in Tang China). So in February 1955 (just before the Istanbul pogrom) the violin was banned from Chaniá radio station, to the “bewilderment and outrage” of locals.
The renowned violinist Kóstas Papadákis (1920–2003) mounted a spirited (if equally polemical) defence of the tradition.
tells his story in revealing detail. Forced to keep on the move by the risk of vendetta (a disturbing feature of Cretan and other Mediterranean cultures), after making a living on the Athens rebetika scene during the war, he returned to Chaniá in 1953, and continued to adapt while resident in the USA from 1959. But after returning to Crete in 1976, he no longer “recycled himself”, instead engaging in vehement cultural resistance against the violin ban. Here he is:
Though the ban still remains in nominal effect today, the violin did resurface on the radio from 1983; but by then most musicians and audiences had accepted the dominance of the lyra. Anyway, the association of Cretan music with lyra is a rather recent fabrication.
For a less ideologically-driven audience, the choice of violin or lyra may seem barely relevant: in many world traditions, indigenous bowed lutes and Western violins can sound equally idiomatic (e.g. in Indian, Uyghur and indeed Turkish musics). Listening to the 1940–1960 tracks, what I’d have imagined as a more likely target of cultural ideologues is not the choice of bowed fiddle, but the use of simple Western harmonies in the plucked accompaniment.
It’s always worth considering Bruno Nettl‘s wider taxonomy of musical change. Argyro Pavlopoulou cites Ross Daly, who considers tradition an illusion: rather than a body of material from the past, it refers to the internal dynamism of a music which develops in time—while it’s not a restricted system that cannot include new components, the novel elements should be compatible with the pre-existing system.
Gauhur Jan accompanied by harmonium, 1902.
Meanwhile in India, the violin had long been popular in Carnatic music, while in the north, sarangi still dominated as accompaniment to the voice, so there seem to have been no principled assaults on the violin. Instead, over the course of the 20th century some singers began to favour the harmonium, threatening the livelihood of sarangi players, which prompted it to be banned from All India Radio from the 1940 to 1971. Though the sonic differences between sarangi and harmonium were more striking than those between the Cretan violin and lyra, the impetus again came from ideologues rather than performers. 
For now I’ll resist exploring the lyra style of the island of Karpathos… Anyway, you get the idea: the diversity of Mediterranean musical cultures is to be treasured.
 Some useful sources in English, with further refs., are Kevin Dawe, Music and musicians in Crete: performance and ethnography in a Mediterranean island society (2007) and “The engendered lyra: music, poetry, and manhood in Crete”, British journal of ethnomusicology 5 (1996), as well as Argyro Pavlopoulou, Musical tradition and change on the island of Crete (2011).
 See Matt Rahaim, “That ban(e) of Indian music: hearing politics in the harmonium”, Journal of Asian studies 70.3 (2011).
* On a lighter note, do read the wonderful story from Captain Corelli’s mandolin. This post on Crete also marks an improvement over my previous coverage of Greek music, limited to the bouzouki in the Monty Python cheeseshop sketch.