:

2009
 .
,
,
,
. , ,

,
. ,
,
.
, ,
,
. ,
, ,
,
.
,
1960 .

. ,
,
. ,

.
, , ,
.

,
.
, (Sublime) ,
.
, ,
.

, .
,
.
.

, ,
. ,
,
.
, . ,
.
2009

3
1. . ,

.1.
.

2. .
, .

3. .

.1. .
.

2.

, ,
.

3.
,
.

.1.
,
.

4
/.../

( )

( , ),
. 19 20
,
, ,
. .

,
1
.
.
(1979)
, ,
2
,
.
,

1
,
, , ,

. , , ,
, 28/02/1999,http://wwk.kathimerini.gr/kath/7days/1999/02/28021999.pdf
2

, 700.000
.,
http://www.melodia.gr

5
 3
. ,
,
,
. ,
.
, ,
, .
,
.
,
, , ,
.

,
.
,
, , .
,
,
4
.
, ,
.
5
,
,
,
. ,

. ,
, , (
) .

, ,

3
. (89- 106),
,

, , ,
,
, -
-
,, ,
, 1985, .105/106.
4

,
,
,
, . .
. , ,
1997.
5

, : , ,
, 1979.

6
 6 ,
.

.
70,
,
,
.
, ,
, .
,
,
7
.
,
,
,
. ,
( )
,
,
( avant-garde,
30). ,
( 1939, 1949, 1975),
8
.
,
, ,
9
,
, , , ,
,
.

, , .
,
,
.

/.../

6
. : The aura is the nimbus of uniqueness and
distance surrounding original works of art, derived from their residual cult value, which is eroded once
they are mechanically reproduced (as in the case of lithographs or films). In his more optimistically
Marxist moments, Benjamin believed that the fading of the aura opens the way for politically
progressive mass culture, Benjamin, Walter in Oxford Art Online,
http://www.oxfordartonline.com.
7
, , ,
70, , , 1992, 19.
8
. . , 1928- 1982, ,
, 1983, 42- 44.
9
. , , , , , 2003,
Guy Saunier ...: , ,
, 2004.

7
 , , , .
... ... .
... , ... ...
, .
/.../
, ,
,
,
;
/.../
,
.
,
.

( )

,
. .
70

( 1939 1945)
, .
. ,
,
, ,
. .
,
, , ,
, , ,
;
,
( ),
.
,
,
, .
10
,
,
,
,
11
. ,

11
. Stphane Mallarme (
, , ) ,
,
.
, . /../
.
,
.

8
 ,

,
, . ( avant-garde)
30,
, ,
. 15 ( , ) ,
,
, ,
12
.
, ( . ,
), .
, .
( )
, ( )
,
,
13
.
, ,
,

,
. ,
.
,
, ,
,
;
,
, ,
, .

,
, ,
.
;
. ,

,
,
,

.,
, , . , 1999, . 20.
12
. (1-
15), ( ) ,
, , ,
, 1996, ,
, , 1991.
13
. , , , ,1984,
20 42,
55 57.

9
 .
. ,
,

.
,
. ,
.
-
,
.

.
14
,
, ,
,
, ,
15
.
, ,
, ,
,
( ).

, .
16
17 18
, ,
,

.
,

14
. ... ,
, /... /
/ , - - / ,
,
, , 2003, 6.
15
/ :
, Studio Press, 1988, 15- 18.
16
, -
, 21 , 2005, . 205.
17
, : , 1979, 19.
18
. , -
-
, .
...
...,
: , . , xv, . ,

:
, ,
,
, , , 2003, 4.

10
 ,
( . ).

,
. ,
, ,
,
,
.
,
, , .
,
,
19
. ,
,
. ,

, ,
. ,
, ,
,
. ,
, ,
, ,
20
.
,
21

.
-
, ,
22
.

19
. , (89- 106),
, ,
.
: ,
, 3/1985,
104.
20

, .
, ,
-
. , ,
.
20
, , , ,
, , , 43-44, 1978 .25.
21
.
, . .
, : , , , 1979.
22
. ( 264- 267),
,

11
 ; ,
, ,
- ;
, .
, ,

,
,
;
,
,
. ,
-
,
,(

). ,
,
;
,
,
, , ,
, ,
.
, ,
,
,

.
,
. ,
,
, ( )
,
, . ,

,
. , ,
,
, ,
.

. /.../ ,
: , , ,
, ,
, /.../ , ,
( 1936- 1947), , , 1972, 266.

12
 .
,
, ,

,
. Calvin Brown

The essential point about this type of argument is that it reveals a basic assumption,
usually unstated and probably sometimes unconscious, that there are some universal
aesthetic principles which must apply equally to all the arts, no matter how different
the individual media of traditions may be23
,
, ,
,
24
,
. (18 )
25
beaux arts, , ut pictura poesis,
ut musica poesis26.
,
. , ,
.
,
, ( ) ,
, ,
.
, , , lied27,
,
, , ,
, .
( ), ,
,
.

23
Calvin Brown, the relations between Music and Literature as a field of study,
JSTOR: Comparative Literature. 22, No. 2 (Spring, 1970), pp. 97-107, 98.
24
, Yearbook of
Comparative Literature 1985 Yearbook of Comparative Literature 1987.
25
.
, : , ,
,1994, ( 6, - 1993)

, Ut pictura poesis: The nineteenth century Aftermath, The Journal of
Aesthetics and Art Criticism, Vol. 28, No. 2 (winter, 1969), www.jstor.org., pp. 155 - 164.
26
Howard Mayer Brown: Ut musica poesis: Music and poetry in France in the late sixteenth
century, Early Music History, Volume 13, (1994), 1- 63, www.jstor.org .
27
. , (244-250),
, , , 1997,
247- 248.

13
 , ,
,
, ,
.

,
,
28
,
, .
29
.
,
. ,
,
30
.
,
31
(Schubert) 18 19
lieder (lied=song),
Goethe Friedrich Schiller32.
20 ,
, , , , La Fontaine33,

. ,
34

. . ,
, ,
,

28
, ,
, , ( , , )
~ , www.komvos.edu.gr
On-Line -
( .234- 243)
, , , 1997, . 234- 235.
29
, (1570- 1669),
, , , 2003, 75- 82.
30
. Karl Nef (1873- 1935), .
, , 1960.
31
(89- 107)
( )
, , 91, 3/1985
:... .
- Lieder- , , , . .
..., , : ,
, 1979.
32
The Cambridge Companion to Schubert, Chapter 5 Schubert and his Poets, Edited by
Christopher H. Libbs, Cambridge University Press, 1997, p.p106 Lied,
www.oxfordmusiconline.com
33
Karl
Nef (1873- 1935), , , , 1960,
601.
34
. , : ,
, 1979.

14
 ,
35
.
, ,
,
36
.

, , ,

, .
,
,
, ,
,
. , ,
.
60
.
, ,
(1958) ,
,
. ,
,
, ,

, ,
37
.
. ,
,
(1972) ,
, ,

, ,
38
( ) .
,

35
. R. Beaton
Schubert, :
1821- 1922, , 1994, . 285.
, ,
. ,
, ,
, , ...,
, , 2000, . 121- 123.
36
, , , 3/1985
99 102.
37

- -
, , , , ,
, ;
, , 1998, 121.
38
. Lenia Serghi, Response to Giannis Miralis, Manos Hatzidakis: the story of an narchic youth
and a agnus Eroticus . Muse
http://muse.jhu.edu/journals/philosophy_of_music_education_review/v012/12.1serghi.pdf.( 82- 85).

15
 .
,
,
,
, .
,
.
,
. ,
- ,
, .
, ,
39
40
.
,
,
o .
,
,
41
.
42
,
.
, ,
,
, , ,
.
,
43
.
, ,
44
, ,
,
,
.

39
,
, ,
, 199 , 15.
40
. . . 1 4.
41
, Singing poets:
Literature and Popular Music in France and Greece, (Legenda, 2005)
(1945-1975)
,
, , ,
, ,
, .
42
, , Greece of the two Composers, (61-99)
92-94.
43

, , , , 2004,
97- 208.
44
... .

16
 45
.
, ,
,
, ,
, .

,
.

, .
, , ,
,
. ,

( ), ,

(
, , ,
,
). ,
,
.
46
.
, , ,
,
, , ,
,
.
,
;
, ,
,
, ,
.
, .
. ,
, ,
.
, , ,
(
1960 ),
.

45
. , ,
, , 2000.
46
. . , , , , , 1992,
22.

17
 47
, ,
.
,
,
.
, ,
, ,
.
, ( )
, .
,
, , , ,
( )
48
.
,
, ,
, , ,
.
, ,
,

, .
( ) ,
49
,
. - ,
.
,
, , .
,
, ,
,
, . ,
,

, .
, ,
50
, , .

47
. 1970- 1980
... ... ,
20 , 10/12/1999, . W. Benjamin
, 36- 38, , ,
1978.
48

, , 1991, 48 53 .
49
. , 70,
, , 173- 214.
50
. . ,
, .
, ,

18
 ,
, .
,
, ,
, .
60, ,
,
, .
,

. ,
, ,
, ,
, , ,
. ,
51
.
, , ,
52
, ,
, , .
,
.
(
),
.
Gail Holst
53
, ,
,
.
, ,
(
54
),
.

, 60, ,
, , , 1991, 259.
51
, 1974
. (
) . (
) ...,( . 15)
1978 /.../

, , , . ( 20) .
52

,
, (1951- 1956), , , 1986, 193. .
, , , , 1995, 64.
53
Gail Holst, The collected poems of Nikos Kavvadias, Cosmos Publishing- Bilingual Edition, 2006,
17-18.
54
. , , , . , 1996.

19
 ,

( ) .

.
, ,
,
;
:
(lied)
. , , ,
, .
.
55
.
, ,
. ,

, , , .

.
.
,

.
,
.
,
, , ,
. ,
,
, ,
, .
,
.
,

(cd, , ,
), .
, , ,
,
, ,
,

55
, , (56- 57 .)
, 185, , 1993, 56.

20
 . , ,
.
, , ,
, :
./.../.
: ,
, .
/.../, .
,
,
56.
, ,
.
, ,
:
,

,
.
, .
,
,
, ,
,

. ,
,
( ) .
57
, ,
58
. ,
,
,
, ,
.

, ,
, ,
.
,
, .
,
,
.
,

56
, ; ,
, , 1997- 1999, 117.
57
. , Singing Poets. Literature and Popular music in France and
Greece, Legenda, 2006.
58
(Sublime) , (On the sublime), D.G.
Teubner, 1905.

21
 59
. , . ,
,
, ,
. ,
;

.
, .

,
.
,
,
, .
,
,
.

,
,
. ,
,
. ,

.
, ,
,
,
. ,
,
, .

. .

,
. ,

, ,

59
, , ,
: , , 1979.

22
 . -
,
, ,

, .

,
( , )
.
,
(
), .
www.YouTube.com
, ,
.
,
.
60
,
:

1969 ( )- ( )
( 45 7 )

1971, , (Vinyl)

( )

1975 , (Lyra)

(Mal du Dpart)

1977 , (CBS)

,
,

60
: .
. : ( 45 7 . ROD 6005).
. . , 1928- 1982, ,
, 1983, 89.

23
 ,
,
,
,

1979 ( Lyra)

Kuro Siwo,
,
,
,
,
,
Federico Garcia Lorca,
,
Cambays Water,
,

1983 (CBS)

,
( ),
( Fresco)

1984 ( Lyra)

William George Allum,

Black and White

1986 S/S 1934 (Minos)

,
,
,
,
,
,
,
,
William George Allum,
A Bord de l Aspasia,
Yara Yara

1986

24
1986 ( )
,
,
Black and White,

- ( - )

1987 ,
(Columbia, Minos- EMI)

1987 ,

, ( - )

1988 ( Sakkaris Lp, Verso music)

1989 (Minos)

1991
,

1991 ( Minos EMI)

,
,
,
,
A Bord de l Aspasia,
Federico Garcia Lorca,
,
,
William George Allum,
,
,
Campay s Water,
,

s/ s Cyrenia

25
1993
61

1996 (MBI)

( Michel Montanaro)

1997 ,

2000
-
Mal du dpart,
Black and white Mal du dpart,

Black and white

2002
( - Sony Music)

2004 -
(Alpha records)

Guevara
62

2004

2005
( CD, Minos EMI)

61

, , , , 1993,
, , , , , 1993.
62
,
, 27, 1983, 731.
,
, Guy (Michel) Saunier, 2006, 89.

26
2007 ( )

63
:

,
( )
.

,
,
:
... ( , ),
64
, .. (
, )

,
.
/.../ , : ( , ,
)65,

( 7+1)
,
,
Kuro Siwo

Black and White

Federico Garcia Lorca,

66
, ,

( ).

63
, , ,
, 1999, 23- 24.
64
, 1997 27, 9.
, , ,
, , , 2003, 133-134.
65
, , , ,
32, 1978, 26.
66
,
, , , 62-63.

27
 , , .

1993

1994 Milva Volpe d Amore ( EMI)

La lettera ( )

1997
(Minos- EMI)

1999 Fata Morgana

www.YouTube.com
, (Sony)

2003 (Heaven)

2003 (Heaven)

2004 Apuriman (lyra)

( ) Daniel Armando

2004 ( Legend)

2005 (Minos)
(Mal du dpart)

2005 Live

2007 -
(Legend- Modern Times)

A Bord de l Aspasia

2008 -
(Ana music)

Fata Morgana

28
 52
24 , (
) 40 ( ),
40%, 2/3 ,
.
52
24
40 ( )
72 (
. ,
,
( ).

:
5
4 ( )
3 ( ) William George AllumBlack and White

2
A Bord De l Aspasia

1 Willy Fata MorganaKuro Siwo

Federico Garcia Lorca Campay s Water Fresco (
)
Yara Yara
Guevara

. 14, 13,
11, 2 .
,
.

29
 . .

/.../.

( Gabrielle Didot)

. ;
CD -
, -
- 50
.
, ,/.../. ,
. /.../ ,
. .
, , -/.../
67
. .
, .
,
090
. ,
.

, . :
!

( )

,
.
,
.
,

, ,
. , ,
. ,
,
68
, ,

67
, Cd - ,
. 4.
68
. .
, ,

30
 ,
. , ,
.
(avant-garde)
. ,
,
, ( ),
, ,
. ,
, ,
,
.
, avant-garde ,

,
,
.

69
.
, ,
70
(
, ) .
, ,
,

, (2005
,
2008).
,
( ) ,
, ,
, ,
.

, ,
(audience).

, :
-
, , ,
, , 1991.
69
- ,
, , 10 1978.
70
. . , , .
- /.../.
,
. - , , , ,
( - ),
,
. . , . , 2003, . 43.

31
 ,
, ,

,
, .

. , ,
,
; , ,

.
,
, ;
70 , ,
, ,

, ,

. , , , ,
,
.
,
71
,

, .
,
, ,
(
30 , ).
Adorno, ,
, .
,

72. Adorno
;
Baudelaire,
,
, ,
, ,

, .
, ,
, , , ,
.

71
. H. J. M. Levet
, , , , 1982
( , ,
(1910- 1975) , 1702, 143 , 1998, . 778.
72
T. Adorno, , , , , ,
2000, . 96.

32
 ,
, , ,
,
. ,
,
, .
. ,
, ,
,
potes maudits, ,
Charles Baudelaire. , ,
, ,
, ,
(spleen idal),
,
.
, ,
, , ,
, ,
. Adorno

, ,
, ,
,
,
73
.O,
, ,
,
.
, , , ,
, ,
Baudelaire, .

,
, .

,
,
,
, . /.../

73
T. Adorno, . . . 92.

33
 ,
,
30,
30, .
(1979),
,
,
, .
, ,
,
74
/.../.
, ...
-
.

, .
, , (popular)
75
, ,
.

,
,
.
( , , , ... )
76
.
,

.
,
,
.
, .
,

77
. ,
( ) , ,
.

, ,

.
74
. , , 20 .
, 1997 . 83- 84.
75
. Ballad: a short popular song that may contain a narrative content. Scholars take it to
signify a relatively concise composition throughout Europe since the late Middle Ages: it combines
narrative, dramatic dialogue and lyrical passages in stanzaic form sung to a rounded tune and offer
includes a recurrent refrain//, Oxford Music Online, Grove Music online dictionary
76
, , , , , 1992, 185.
77
, , , 27,
1983, 744 .

34
 , ,
, , ,
, .
, ,
,
78
, , ,
,
,
2.000 ,
, 40
79
;. , ,

.
,
,
, ,
80
. ,
,
,

, ,
.
, , ,
,
,
.
,
;
, ,
81
,

. , ,
,
, , ,
,
.
,
.
,

78
. , , ...
..., 27/02/2005, www.eleytherotypia.gr
79
, . . 81.
80
Keith Negus, Popular music in Theory An introduction,
Audiences // the issue of reception- that is, with how people receive, interpret and use
music as a cultural form while engaging in specific social activities, 8.
81
. - ,
, -
, . . 81.

35
 . , ,
,
,
, ,
.
,
, .

.
,
,
,
82
: .
,
, ,
, , .
, , , ,
, ,
, , ,
,
.
,
,
, .

...
,
,

.
...

(4 , )

50 60.
,
,

82
, ,
Cd - , 8.

36
 83
.
,
,
, ,
,
84
, ,
.
.

,
,
. ,

. ,
,
, .

, , ,
,
, , .

, .
,
. ,
, , .
,
, :
, , , ,
,
,
.
,

. /.../ .
/.../ , ,
, , , ,

83
. . 20 ,
, ,
. , 82.
84
,
, , ,
, , , , 1998,
220.

37
 85
.
86
.
,
,
,
. , ,

,
87

,
.
(
88
, ),

, ,
,
.
,
( ),

, .

- -
.

/.../
, ,
,
, ,
85
, ,
, , . , 2007, . 78.
86
, , - -

, . . . 79.
87
. , ... , .
, , ,
, 2007, . 87.
88
. , www.ert-archives.gr.

38
 .

,
, .
, ,
.
/.../
,

,
...

( , )

, ,
,
,
89
.
, , ,
,
90
. ,
,
, ,
,
Willy
. ,
( )
,
( )
,
.

, ,
,
, , , ,
.
89
. , . . ,
, , , ,
., . 104.
90
.
,
. . .
, ,
..., , ,
, , . , 2007, . 95.
, blues
.

39

, , ,
,
.
...
.
, - ,
,
.

,
, , .
,
.

( )

,
,
, ,
, ,
( )
. ,
,

,
.

. ,
,
, 1960. ,
,
. ,
,
,
, , ,
.
,
,

,
,
, . ,

40
 , ,

,
,
.
, , ,
, ,
,
, ,
,
.
,
(
),
, .

- . ,
,
,

. ,
, ,
,

.
,
,
. , ,
,
,
,
, .
, , ,
, /.../
, ,
91
, .
( )
,
, ,

. ,
,
,
.
( , )
,

91
Theodor Adorno, , -
, , , 2000, . 15- 17.

41
 ,
. , ,

.

, . ,
, ,
, , ,
,
( , , ) .
,
,
, ,
. ( )
, , ,
,
,
.
, (
, ), ,
,
, .
,
. ,
, ,

,
,
. ,
,
,
, .
, , ,
,
,
( ).

.Are
we all so free in our choices and spontaneously creative when experiencing music or
recorded music products?92 For example, in what ways do
performers and the music industries direct fans to certain preferred meanings?93

, ,
,

,
. ,
92
Keith Negus, Popular music in Theory An introduction, Hanover and London, Wesleyan University
Press, Han, 1996, . 33.
93
. . . 35.

42
 , ,
(
),

94
.( ,
,
,
, ,
).
,

.
,
, , .
,
, ( )
,
, (
, punk style . .),
Keith Negus,Sub cultural capital is used by aspiring youth groups
as a way of gaining status and to differentiate their own preferences and activities
from those of other social groups95.
,
-
(subculture-culture of mainstream),
, .

.
, ,

,
96
.
,
, ,

.
... , ... (
)
, ,
,

94
.
CD - , . 9.
95
. . . Subculture and style, (14-18).
96
. Audiences Homology and the internationalization of sub-cultural styles, It is a
challenge to the assumption of a homology- the idea that all of the parts that go to make up a style
(most notably dress, dancing and music) form a unity that expresses the whole way of life of the sub-
cultural group., Keith Negus, Popular music in Theory, an introduction, p.p. 23.

43
 .97
,
,
,

,
.

,
...
,
... 98.
,
,
, , , , ,
, ( )
.
,
, .
,
,
,( ),
,
.
, , ,
, ,
,
,
. ,

...
,
99
.
,
, ,
,
, ,
, -
,

97
, 4 ,Alpha,
www.YouTube.gr .
98
, ,
, , , , 1992, 177.
99
,
Sound Vision Magazine, http://www.hxos.gr .

44
 .
, ,
,
,
, .
( ), ,
, ,
, ,
, .
,
.
,
,
. Adorno

.
apparition
. , ,
...,

100
: . .
,
,
. , , ,
, ,
.
,

,
101
.
,
,
,
,

. ,
,
,
, . , ,
(
), ,

100
Adorno Theodor, , - , ,
, 2000, 147.
101
. www.ert-archives.gr.

45
 .
.
, .
.
...
, .
.
, ,
, .
...
. .
. , , .
,
, .

(
) , ,

, .

,
, ,
.

,
, .

( )
,
,

, :
,
, ,
.

, Rio ,
.

46

;- .

, ,
.
, ,
, , .

;
, .
;
, .

.
, , , ,

, , .

, :

, ,
, .

.
102

,
; ,
103
.

, ,
.

1. Elliot, Ezra Pound Apollinaire
.
/.../ . /.../
... .

1. ... , ,
, .

102

(www.ert-archives.gr),
, , , 1991.
103
. : ...
, , 116.

47
 ,
.

1. ;
;,
, 60- 70
. .
.

2. , ,

.
100/100.

3. ,
800 1200 . .
, ,
( )

4. ...
, .

,
,

,
,
,
,
.(
, . 162)

,
, ,
.
,

.
,
104
, ,
, , ,

104
.

, ,
, , , 1991, 163.

48
 , .
,

,
.
Adorno /.../

, .
:
,
, .
.

105
.
,

,
,
, ,
,
. , , ,
,

,
,
management
,
. , ,
. ,
, ,
,
( , ,
), ,
,
.
,
,
, ,
, ,

. ,
, ,
, ,
, .
,

105
Adorno Theodor, , , , ,
, 2000, 417.

49
 , ,
(L Art pour L Art),
,
, .

, .
, ,
.
, .
,
.
,
apparition. /.../.
,
,
106
.

, ,
, ,
, ,
.
, Adorno
,
,

.
,
....
107
.
,
,
. ,
,
, ,
. ,

,
, ,
,
,
. , ,
,
, .
, ,
,
,
.

106
Adorno Theodor, , . . . 148.
107
Adorno Theodor, . . . 37.

50
 .
.
, , .
...
,
.
, -
.

.
- .
, , ,
, .

, ,
, , .
.
.

.
.
,
.

( )

.
,
,
, ,
. ,
, , ,
.
, ,
.
.
108
.

Mal du depart

108
, , , 200..., 101.

51
 ... ( )
,
. :
,
.... ,
,
!/.../109
, ,
, ,
. , ,
,

.
,

( Kuro Siwo),
(
12:03 S/S Cyrenia 11:23), ,
, , ,

. ,
, ,

, .
,
,
,
. , ,
, .
,
,
, . , ,
110
Adorno
,
, ,
,
.

109
, .
110
Adorno Theodor, , , 23,
1984, 32- 35.

52
 ,
,

111

,
,
. ,
.
, ,

,
. , , ,
.

,
.

, Cd
.

... , , ,
. ,
112
. .

, ,
,
.

,
- .

111
, , , , , . , 1995
112
, ,
, 21, 1997, 96- 99.

53
 , ,

(Fata Morgana)

, ,
.
...
; .
; .
; .
; .
...
, ,
, , ,

, .
...
.
.
.
, .

, ,
, , ;, ,
, ,

; . , ,
113
.
, ,
( ),
, ,
.
, ,
.
, ,
, .
,
( ),

113
, ... , , , 21,
1997, . 99.

54
 . , , ,(
),
( )
,
, .
.

...

,
,

.
...
, .
. , !

, , .

: ...

:
!
.
...

.
...
( )

,
,.

55
 (1978). ,
, ,
.

, ,
. , ,
,
. ,
.

,
,
, .

. , ,
,
, , ,

.

, ,
( , ,
), ,
. ,
, .

,
,
.
, ,
,
.
:
/.../. , .
./../ ,
, .
114
.
, ,
,
,
. , , , ,
, ,
,
.

, , ,
.

114
, . . . 107.

56
 , ,
Terry Eagleton , , :
:
( , ,
) [...]
,
115
, .

,
,
.
, ,
, ,
.
, , ,
, , , ,
( ), .
,
.
, ,
, .
,
, .
, ,

.
116
, .
,
,
. , ,
:

.
.
- -
.
...

,
.

m/s Aquarius 1974.

Terry Eagleton, ; Terry Eagleton

25/11/08, , 28
2008.
116
, .

57
 Titre : Mise en musique de la posie de Nikos Kavvadias

Sommaire

Le sujet principal de cette thse de master, comme son titre le montre, est la mise en
musique de la posie de Nikos Kavvadias. Hormis lintrt pour les pomes de
Kavvadias et la musicalit de ses vers, nous avons choisi ce sujet cause de
limportance que prend aujourdhui ce thme (musique et posie).
la premire partie nous exposons la relation qui existe entre la musique et la
posie, ainsi quelle smerge depuis longtemps et ouvre de perspectives multiples,
historiques, thoriques et culturelles. De plus, les configurations musicales de la
posie mdiatises par les compositeurs grecs sont relies avec le niveau politico-
culturel et spcialement avec llment populaire. Ce terme est assez difficile et
complexe dfinir: la combinaison de la musique avec la posie prsuppose le
dialogue ou le mlange entre le populaire ( ), artificiel ( ) ou le rock,
vu limportance quils ont acquis dans la socit. En plus, la mise en musique de la
posie, aurole par le ct authentique et moral des vers, constitue un champ
appropri au marketing, au march culturel.
En ce qui concerne le cas de Kavvadias, ses pomes sont mis en musique par
plusieurs compositeurs. Nous citons de manire analytique la discographie complte
du pote en comptant aussi quelques ouvrages moins connus par le public. Parmi les
musiciens les plus connus qui ont travaill sur la posie de Kavvadias, sont Thanos
Mikroutsikos, Mariza Koch et la bande musicale Xembarkoi. Cidessous nous
mettons au point la cration musicale de Mikroutsikos (Album La Croix du Sud ,
1978). Nous commentons dabord le dbat esthtique autour de ce disque, comme les
chansons de Kavvadias, durant cette priode, ont jou un rle de nouveaut
esthtique. Ensuite, nous examinons comment les relations complexes (entre pome,
posie, pote, compositeur et auditeur/audience) se dveloppent et agissent lune sur
lautre. En outre, nous essayons de montrer la connexion et lintersection entre
llment artificiel ( ), la ballade rock et le chant populaire, comme un endroit
particulier marqu par la mentalit du rock n roll. Lindustrie musicale et ses
pratiques (promotion mdiatique, lancement publicitaire du produit) jouent un rle

58
dcisif la transformation des vers, devenus simplement un signe de la culture de
masse, passive et unilatrale. De cette faon, il arrive que les pomes de Kavvadias
fonctionnent parfois comme partie et produit de cette culture massive, tandis que le
sens social et laspect philosophique de sa posie sont limins.
Notre essai na pas lintention de stigmatiser ou critiquer qui que ce soit, mais
de faire penser un peu aux choix de lindustrie musicale qui changent les critres de
notre rflexion sur lart et les consquences qui en rsultent.

Title: The setting to music of the poetry of Nikos Kavvadias

Summary

The main focus of this masters thesis is the setting to music of the poetry of
Nikos Kavvadias. Apart from our interest in the poetry of Nikos Kavvadias and the
musicality of his words, we have chosen this theme because of its importance (music
and poetry).
In the first part we state the relationship that exists between music and poetry, and
its perspectives: historical, theoretical and cultural. Moreover the musical setting of
poetry by Greek composers is related to the political and cultural environment, as
indicated by the term popular. This term is difficult enough to be defined: The
combination of poetry and music presuppose the dialogue between the popular
( ), the artificial ( ) or the rock, in relation meaning and the importance
that they have into the society. Moreover poetry set in music, is related to authenticity
and ethics, and is provide into commercial marketing and its techniques.
Regarding the case of avvadias, his poems have been set into music by a lot of
composers. We set decisive the total discography of Nikos Kavvadias. Among most
known musicians, who have worked on the poetry of Nikos Kavvadias are Thanos
Mikroutsikos, Mariza Koch, and the musical group Ksembarkoi. We focus on the
musical creation of Thanos Mikroutsikos (Southern Cross 1978). First we comment
on the aesthetic debate that bears upon this particular disc. Following that we analyze
how this complex relation (between poem-poetry-poet-composer and
listener/audience) is developed and interacts. Furthermore we try to show the
connection and the intersection between artificial (entechno), rock ballad and the
popular. The last one is seen as a specific field marked by the mentality of rock n
roll. Music industry and its practices (media promotion, the public launching of the
product) play a decisive role in the transformation of the verses, indicating a
monolithic sign of mass culture, and its passive and unilateral consumption. By this
way what happens is that some songs function as a product of mass culture, while the
social significance and the philosophical aspects of his poetry are excluded.
Our work has not any intention to criticize, but only to make us think regarding this
specific art and the special choices of the musical industry, which changes and
modifies the criteria of our reflexion for the art.

59
The Collected poems of Nikos Kavadias, bilingual edition, translated by Gail Holst-
Warhaft, Usa, Cosmos publishing, 2006.

, :
, Guy Saunier, , 2006.

, o , , , 1987.

, , , , 1989.

, (1951- 1956), , , 1986.

CD

(Lyra)

(Minos- Emi)

- (Minos- Emi)

(CBS)

S/S 1934, (Minos)

, , 1928- 1982, ,
, 1983.

, , , , 1992.

, : , , 2003.

60
Guy Saunier, ...:
, , 2004.

, , , 1982.

, : ,
, 1994.

, , , 1995.

, , , , 1996.

Theodor Adorno, , , ,
, 2000.

Theodor Adorno, , , 2000.

Theodor Adorno, H , ,
: , 1997.

Keith Negus, Popular Music in Theory an Introduction, Wesleyan University Press,

1996.

, , , , 2007.

Walter Benjamin, , , 1978.

, , , 1984.

, ,
, 1978.

, ,
, ,
, 1996.

, , 1982.

, , , , 1988.

Yearbook of Comparative Literature 1985

61
Yearbook of Comparative Literature 1987

, : ,
University Studio Press, 1987.

, , - , ,
1992.

, Singing poets: Literature and popular music in France and

Greece, London, Legenda, 2006.

, : , ,
, 1979.

: , ,
, 1997.

, , , 1997-99.

, , , , 2004.

Stephan Mallarme, , , , 1983.

Karl Nef, , , , .
, 1985.

, :
, , ,
2007.

- , , ,
21 , 2008.

, : , , ,
2002.

62
 , ,
, , 2003.

, , , 2000.

, ,
, 1998.

, 3/ 1985.

, 20 - - ,
1997 , ... ,
, , 21, 1997.

, , 27, 1983.

, 6, - 1993.

, , 1702, 1998.

, , 27, - 1997.

, , ,
32, 1978.

, , 185, 1988.

, , 43-44,
1978.

Adorno Theodor, , , ,
23, 1984, 32- 35.

63
Sound Vision Magazine ( XO ) -
http://www.hxos.gr/

Calvin Brown, The relations between Music and Literature as a field of

study, JSTOR: Comparative Literature. 22, No. 2 (Spring, 1970), pp. 97-
107.

Ut pictura poesis: The nineteenth century Aftermath, The Journal of Aesthetics and
Art Criticism, Vol. 28, No. 2 (winter, 1969), www.jstor.org., pp . 155 - 164.

Howard Mayer Brown: Ut musica poesis: Music and poetry in France in the late
sixteenth century, Early Music History, Volume 13, (1994), 1- 63, www.jstor.org

Lenia Serghi, Response to Yannis Miralis Manos Hatzidakis: The story of an

Anarchic Youth and a Magnus Eroticus, Muse

http://muse.jhu.edu/journals/philosophy_of_music_education_review/v012/12.1serghi
.pdf

, , , 28
1999.

http://wwk.kathimerini.gr/kath/7days/1999/02/28021999.pdf

, , 1970- 1980.

, 26 2005.

, 10 1978.

, 28 2008.

64
www.ertarchives.gr

, (11/1/1910- 10/02/1975): 33 ,

www.poiein.gr

www.melodia.gr

, Alpha
www.youtube.gr

M. H. Abrams, , , 2005.

The Cambridge companion to Schubert, Gibbs, Christopher Howard, Cambridge,

New York: Cambridge University Press, 1997.

, : , , ,
1995.

http://www.komvos.edu.gr/dictionaries/

www.grovedictionary.gr ,

www.oxfordartonline.gr

:
, , , , 1997.

65
66