Did the Modern Greek Music Become Orientalised After the Arrival of Greek Refugees from Anatolia?

Contrary to prevalent beliefs, the influence of Anatolian music on modern Greek music, particularly following the great population exchanges between Greece and Turkey in 1922, was more nuanced and indirect than previously assumed. While the refugees brought identifiable Anatolian music, primarily through the cafés chantants in Smyrna, Izmir, and Constantinople, the evolution of Greek music was a complex amalgamation of various cultural influences.

The Refugee Influence and Its Urban Pop Manifestation

The refugees, notably artists like Roza Eskenazi and Antonis "Dalgas" Diamantidis, brought a distinct musical heritage that formed the basis of the urban pop bouzouki music that dominated Greek charts for decades. This music remained a cornerstone of Greek identity, with both Eskenazi and Diamantidis born in Istanbul in the 1890s, though Eskenazi had moved to Salonica before the population exchanges.

The Intricacies of Musical Fusion and Continuity

While there was a discernible difference between the Anatolian music brought by the refugees and the traditional music of Balkan Greece, such as the folk music of the mainland and islands, or the Byzantine chant, this divergence was not as stark as the contrast with the Italian-derived folk music of the Ionian islands or the Western European pop music that dominated in Greece. The scales of Balkan folk music and Anatolian music share similarities, and both genres remain largely understandable to Balkan Greeks.

Folk Traditions and the Impact of Population Exchanges

Folk traditions, particularly the Tabahaniotika tradition of Muslim Cretan music, which sounds more Anatolian than Christian Cretan folk music, largely withered under the influence of the population exchanges. However, some tunes and instruments survived, particularly in areas with a significant refugee population. The continued exposure to Ottoman music, through instruments like the saz, was a constant presence, evidenced by the folk music lyrics until the start of the 20th century.

One significant counterpoint to the idea that the refugees had a decisive influence is the pre-existing Proto-Rebetiko tradition in Athens and the port city of Ermoupolis. This tradition, carried by artists like Markos Vamvakaris, incorporated Anatolian elements but was not as fundamentally shaped by them as once thought. The music of Ermoupolis included not only Western marches and local folk music but also Anatolian dances like the zeibekikos.

The Evolution of Rebetiko and Bouzouki Music

The Piraeus sound, pioneered by Vamvakaris in the 1930s, exemplifies the synthesis of Anatolian and Western influences. His song "You're Dark and Cute," for instance, is a reimagining of a Smyrneiko lament performed in a Westernized, upbeat tempo, underscoring the transformation of Anatolian modes into a more accessible, albeit orientalized, style.

While the Smyrneiko tradition did leave its mark, it was soon superseded by the more Westernized archontorebetiko, or "nobleman's rebetiko," which often did not include traditional instruments like the bouzouki. By the 1950s, the orientalizing strand continued but faced scrutiny and criticism, as seen in the commercially successful but often criticized Skyladiko genre and the works of artists like Kazantzidis and Zagoraios.

Bringing together the influences of Indian movie music and other Eastern motifs, bouzouki pop has seen a significant evolution. The interpretation of traditional Anatolian modes can vary dramatically—from the original 1930 recording of The Kids in Your Neighbourhood by Antonis Diamantidis, which retains strong Anatolian elements, to the more recent recordings by Dalaras, Nikolaidis, and Glykeria, which showcase a diverse array of musical influences and styles.

In conclusion, the impact of Anatolian music on modern Greek music, while significant, was a part of a broader, more complex musical landscape. The evolution of Greek music reflects a dynamic interplay between tradition and innovation, with the oriental elements being both embraced and transformed through the lens of Western musical structures and sensibilities.