The Nationalization of Ottoman Popular Music in Greece

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 ‘Η ελληνοποίηση της οθωμανικής λαϊκής μουσικής’
The Nationalization of Ottoman  Popular Music in Greece
RISTO PEKKA PENNANEN / University of Tampere
This article addresses some problems connected with the post-Ottoman  reception of Ottoman and Ottoman-influenced popular music in the  Balkans, with nationalism and national culture-building as main themes. The  emphasis is on the Ottoman-Greek cafk music nowadays usually called  smyrneika (“of or pertaining to Smyrna”) in Greece. I will also offer a revised view of Ottoman-Greek popular music from a wider perspective than the  standard Greek one. Such a view is needed since in writing on Greek popu-  lar music, Ottoman-Greek caf6 music has by and large been overlooked as a  subject of study in favor of the bouzouki-based Piraeus rebetika.
There are two main forms of nationalism, which often intertwine. One  branch, associated with Immanuel Kant (1724-1804), treats of political na-  tionalism; the other, most seminally articulated by Johann Gottfried Herder  (1744-1803), treats of cultural nationalism. The main goal of most political  nationalists is the creation of an independent nation-state. Political national-ists tend to construct centralized organizations, such as political parties, to  attain their goals. Cultural nationalism is based on the work of scholars and
artists, who form academic and cultural societies in order to preserve, study,  and develop the cultural heritage they look upon as characteristic of their  national community (Hutchinson 1994:40-45)…

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