Music of Greece

Music of Greece
Music of Greece
General topics
Specific forms
Media and performance
Music awards
  • Arion Awards
  • MAD Video Music Awards
  • Pop Corn Music Awards
Music charts
  • Greek Albums Chart
  • Foreign Albums Chart
  • Singles Chart
Music festivals Thessaloniki Song Festival
Music media
National anthem "Hymn to Liberty"
Regional music
Related areas Cyprus
Regional styles

The music of Greece is as diverse and celebrated as its history. Greek music separates into two parts: Greek traditional music and Byzantine music, with more eastern sounds.[1] These compositions have existed for millennia: they originated in the Byzantine period and Greek antiquity, where there is a continuous development which appears in the language, the rhythm, the structure and the melody.[2] Also Greek music has many similarities with the music of Cyprus; their modern popular music scenes remaining well-integrated with one another. Music is a significant aspect of Hellenic culture, both within Greece and in the diaspora.


Greek music history

Greek music history extends far back into ancient Greece, since music was a major part of ancient Greek theater. Later influences from the Roman Empire, Eastern Europe and the Byzantine Empire changed the form and style of Greek music. In the 19th century, opera composers, like Nikolaos Mantzaros (1795–1872), Spyridon Xyndas (1812–1896) and Spyridon Samaras (1861–1917) and symphonists, like Dimitris Lialios and Dionysios Rodotheatos revitalized Greek art music. However, the diverse history of art music in Greece, which extends from the Cretan Renaissance and reaches modern times, exceeds the aims of the present article, which is, in general, limited to the presentation of the musical forms that have become synonymous to 'Greek music' during the last few decades; that is, the 'Greek song' or the 'song in Greek verse'.

Ancient Greece

In ancient Greece, mixed-gender choruses performed for entertainment, celebration and spiritual reasons. Instruments included the double-reed aulos and the plucked string instrument, the lyre, especially the special kind called a kithara.

Music was an important part of education in ancient Greece, and boys were taught music starting at age six. Greek musical literacy created a flowering of development; Greek music theory included the Greek musical modes, eventually became the basis for Western religious music and classical music.

Greece in the Roman Empire

Due to Rome's reverence for Greek culture, the Romans borrowed the Greek method[3] of 'enchiriadic notation' (marks which indicated the general shape of the tune but not the exact notes or rhythms) to record their music, if they used any notation at all.


The tradition of eastern liturgical chant, encompassing the Greek-speaking world, developed in the Byzantine Empire from the establishment of its capital, Constantinople, in 330 until its fall in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical Greek age, on Jewish music, and inspired by the monophonic vocal music that evolved in the early (Greek) Christian cities of Alexandria, Antioch and Ephesus (see also Early Christian music). In his lexicographical discussion of instruments, the Persian geographer Ibn Khurradadhbih (d. 911) cited the lūrā (bowed lyra) as a typical instrument of the Byzantines along with the urghun (organ), shilyani (probably a type of harp or lyre), and the salandj (probably a bagpipe).[4].

Greece during the Ottoman Empire

The Greeks were familiar, in a period that stretched from the 15th century to the time of Greek war of independence, with Greek folk music and dances from Byzantine music and more specifically, with religious hymns: Church music.[5] These genres have certainly reached a high degree of evolution. They were forms of a mono music that had many elements of ancient Greek origin but also, they had nothing to do with Western polyphonic music.[6] By the beginning of the 20th century, music-cafés (καφέ-σαντάν) were popular in Greek cities like Constantinople and Smyrna, where small groups of musicians from Greece played. The bands were typically led by a female vocalist and included a violin. The improvised songs typically exclaimed amán amán, which led to the name amanédhes or café-aman (καφέ-αμάν). Greek musicians of this period included Marika Papagika, Rosa Eskenazi and Rita Abatzi. This period also brought in the Rebetiko movement, which had local Smyrnaic and Byzantine influences.

Folk music (Dhimotiká)

Nikos Skalkottas (1904-1949) drew his influences from both the classical repertoire and the Greek folk tradition.
Different types of Greek flutes.
Different types of Greek clarinets.

Greek folk traditions are said to derive from the music played by ancient Greeks. There are said to be two musical movements in Greek folk music (παραδοσιακή μουσική): Acritic songs and Klephtic songs. Akritic music comes from the 9th century akrites, or border guards of the Byzantine Empire. Following the end of the Byzantine period, klephtic music arose before the Greek Revolution, developed among the kleftes, warriors who fought against the Ottoman Empire. Klephtic music is monophonic and uses no harmonic accompaniment. Dhimotika tragoudhia are accompanied by clarinets, guitars, tambourines and violins, and include dance music forms like syrtó, kalamatianó, tsámiko and hasaposérviko, as well as vocal music like kléftiko. Many of the earliest recordings were done by Arvanites like Yiorgia Mittaki and Yiorgios Papasidheris. Instrumentalists include clarinet virtuosos like Petroloukas Halkias, Yiorgos Yevyelis and Yiannis Vassilopoulos, as well as oud and fiddle players like Nikos Saragoudas and Yiorgos Koros.

Greek folk music is found all throughout Greece Cyprus and several regions of Turkey, as well as among communities in countries like the United States, Canada and Australia.The island of Cyprus and several regions of Turkey are home to long-standing communities of Greeks in Turkey with their own unique styles of music.


Nisiotika is a general term denoting folk songs from the Aegean Islands. Among the most popular types of them is Ikariótiko traghoúdhi, "song from Ikaria".


Ikariótikos is a traditional type of dance, and also the name of its accompanying type of singing, originating in the Aegean island of Ikaria. At first it was a very slow dance, but today Ikariotikos is a very quick dance. Some specialists say that the traditional Ikariotikos was slow and the quick "version" of it is in fact Ballos. Music and dancing are major forms of entertainment in Ikaria. Throughout the year Ikarians host baptisms, weddings, parties and religious festivals where one can listen and dance to live traditional Ikarian Music.

Modern Nisiótika

Singer Mariza Koch was largely responsible for the revival of interest in Nisiótika in the 70s and 80s.[7] During the 1990s and 2000s, artists such as Yiannis Parios, Stella Konitopoulou, and the Mythos Band helped this music gain occasional mainstream popularity.

Cretan Music

Crete is an island which is a part of Greece. The lýra is the dominant folk instrument on the island; it is a three-stringed bowed instrument similar to the Byzantine Lyra. It is often accompanied by the Cretian lute (laoúto), which is similar to both an oud and a mandolin. Nikos Xylouris, Antonis Xylouris (or Psarantonis), Thanassis Skordalos, Kostas Moundakis, and Vasilis Skoulas are among the most renowned players of the lýra.

Cretan music in media

The Cretan music theme Zorba's dance by Mikis Theodorakis (incorporating elements from the hasapiko dance) which appears in the Hollywood 1964 movie Zorba the Greek remains the best-known Greek song abroad.

Modern Cretan music

The Cretan musical tradition in modern form is followed today by several contemporary artists such as the Chainides, Loudovikos ton Anogion and Yiannis Charoulis.

Other folk traditions

Other major regional musical traditions of Greece include:

Classical music

Spyridon Samaras (1861-1917).

Being largely unaffected by the developments of the European Renaissance due to the Ottoman rule (which lasted nearly four centuries), the first liberated Greeks were anxious to catch up with the rest of Europe. It was through the Ionian Islands (which were under the Italian rule and influence) that all the major advances of the European music were introduced to mainland Greeks. The songs of the Islands known as Heptanesian kantádhes (καντάδες 'serenades'; sing.: καντάδα) are based on the popular Italian music of the early 19th century. Kantádhes became the forerunners of the Greek modern song, influencing its development to a considerable degree. For the first part of the next century, several Greek composers continued to borrow elements from the Heptanesian style. Prominent representatives of this genre include Nikolaos Mantzaros, Spyridon Xyndas, Spyridon Samaras and Pavlos Carrer.

Greek National School

Manolis Kalomiris (1883–1962) was the founder of the Greek National School of Music. Born in Smyrna, he attended school in Constantinople and studied piano and composition in Vienna. His work drew influences also from the Greek folk music, poetry (he was an admirer of Kostis Palamas) and myth, aiming to combine the German Romanticism with Greek motives. In 1919 he founded the Hellenic Conservatory and in 1926 the National Conservatoire.

Popular music

Early popular songs

The most successful songs during the period 1870–1930 were the so-called Athenian serenades (Αθηναϊκές καντάδες), and the songs performed on stage (επιθεωρησιακά τραγούδια 'theatrical revue songs') in revue, operettas and nocturnes that were dominating Athens' theatre scene.[8][9] Notable composers of operettas or nocturnes were Spyridon Samaras, Dionysios Lavrangas, Attik (Kleon Triantafyllou), Nikos Hatziapostolou, while Theophrastos Sakellaridis' The Godson remains probably the most popular operetta. Despite the fact that the Athenian songs were not autonomous artistic creations (in contrast with the serenades) and despite their original connection with mainly dramatic forms of Art, they eventually became hits as independent songs. Notable actors of Greek operettas, who made also a series of melodies and songs popular at that time, include Orestis Makris, Kalouta sisters, Vasilis Avlonitis, Afroditi Laoutari, Rena Vlahopoulou, Eleni Papadaki, Aris Maliagros, Marika Nezer, Marika Krevata etc. Italian opera had also a great influence on the musical aesthetics of the modern Greeks.

After 1930, wavering among American and European musical influences as well as the Greek musical tradition, the Greek composers begin to write music using the tunes of the tango, the samba, and the waltz combined with melodies in the style of Athenian serenades' repertory.






Smyrna style rebetiko trio: Dimitris Semsis, Agapios Tomboulis, Roza Eskenazi (Athens 1932).

Rebetiko was initially associated with the lower and poor classes, but later reached greater general acceptance as the rough edges of its overt subcultural character were softened and polished. Rebetiko probably originated in the music of the larger Greek cities, most of them coastal, in today's Greece and Asia Minor. Emerged by the 1920s as the urban folk music of Greek society's outcasts. The earliest rebetiko, since the middle of the last century, shows the new creation of the Greeks, the city song astiko -Greeks: refugees, musicians, drug-users, criminals and itinerants—were scorned by mainstream society. They sang heartrending tales of drug abuse, prison and violence, usually accompanied by the instrument called bouzouki (pl.: bouzoukia) (a sort of lute derived from the Byzantine tambourás and related to the Greek baglamas.

In 1923, after the population exchange between Greece and Turkey, many ethnic Greeks from Asia Minor fled to Greece as a result of the second Greco-Turkish War. They settled in poor neighborhoods in Piraeus, Thessaloniki, and Athens. Many of these immigrants were highly educated, such as songwriter Vangelis Papazoglou, and Panagiotis Tountas, composer and leader of Odeon Records' Greek subsidiary, who are traditionally considered as the founders of the Smyrna School of Rebetiko. Another tradition from Smyrna that came along with the Greek refugees was the tekés (τεκές) 'opium den', or hashish dens. Groups of men would sit in a circle and smoke hashish from a hookah, and improvised music of various kinds.

With the coming of the Metaxas dictatorship, rebetiko was repressed due to the uncompromising lyrics. Hashish dens, baglamas and bouzouki were banned, or at least playing in the eastern-style manner and scales.

Some of the earliest legends of Greek music, such as the quartet of Manolis Chiotis, Markos Vamvakaris, Stratos Payioumtzis and Yiorgos Batis came out of this music scene. Vamvakaris became perhaps the first renowned rebetiko musician after the beginning of his solo career. Other popular rebetiko songwriters and singers of this period (1940s) include: Dimitris Gogos (better known as Bayandéras), Stelios Perpiniadis, Spyros Peristeris, Giannis Papaioannou, and Apostolos Hatzichristos.

The scene was soon popularized further by stars like Vassilis Tsitsanis. His song Συννεφιασμένη Κυριακή - Synnefiasméni Kyriakí became an anthem for the oppressed Greeks when it was composed in 1943, despite the fact that it was not recorded until 1948. He was followed by female singers like Marika Ninou, Ioanna Yiorgakopoulou, and Sotiria Bellou.In 1953, Manolis Chiotis added a fourth pair of strings to the bouzouki, which allowed it to be tuned tonally (Western tuning) and set the stage for the future 'electrification' of rebetiko. This final era of rebetiko (mid 1940s-1953) also featured the emergence of night clubs (κέντρα διασκεδάσεως) as a means of popularizing music.By the late 1950s, rebetiko had declined; it only survived in the form of Archontorebetiko (Αρχοντορεμπέτικο "posh rebetiko"), a refined style of rebetiko that was far more accepted by the upper class than the traditional form of the genre. The mainstream popularity of archontorebetiko (αρχοντορεμπετικο) paved the way for Éntekhno and Laïkó. In the 60's Manolis Chiotis popularized the eight-string bouzouki and set the stage for the future 'electrification' of rebetiko.

Rebetiko in its original form was revived during the Junta of 1967–1974, when the Regime of the Colonels banned it. After the end of the Junta, many revival groups (and solo artists) appeared. The most notable of them include Opisthodhromiki Kompania, Rembetiki Kompania, Agathonas Iakovidis.


Drawing on rebetiko's westernization by Tsitsanis and Chiotis, Éntekhno arose in the late 1950s. Éntekhno (lit. meaning 'art song') is orchestral music with elements from Greek folk rhythm and melody; its lyrical themes are often political or based on the work of famous Greek poets. As opposed to other forms of Greek urban folk music, éntekhno concerts would often take place outside a hall or a night club in the open air. Mikis Theodorakis and Manos Hadjidakis were the most popular early composers of éntekhno song cycles. Other significant Greek songwriters included Stavros Kouyoumtzis, Manos Loïzos, and Dimos Moutsis. Significant lyricists of this genre are Manos Eleftheriou, and poet Tasos Livaditis. By the 1960s, innovative albums helped éntekhno become close to mainstream, and also led to its appropriation by the film industry for use in soundtracks. A form of éntekhno which is even closer to Western Classical music was introduced during the late 1970s and 1980s by Thanos Mikroutsikos. (See the section 'Other popular trends' below for further information on Néo kýma and Contemporary éntekhno.)





A classical three-course bouzouki.

Laïkó (λαϊκό τραγούδι 'song of the people' or αστική λαϊκή μουσική 'urban folk music'), also known today as classic laïkó (κλασικό/παλιό λαϊκό). It is the urban music of Greece that emerged by the creation of Greek music culture as rebetiko in the 20th century, and has taken many styles over the years. Until the 1930's the Greek Discography was dominated by two musical genres: the Greek folk music (demotiká), including Smyrneika, and the Elafró tragoudi (literally: "light song"). It was (and is) the Greek version of the international pop music of any time. Classic laïkó as it is known today, was the mainstream popular music of Greece during the 60s and 70s. Laïkó was dominated by singers such as Tolis Voskopoulos, Marinella, Stelios Kazantzidis and Stratos Dionysiou. Among the most significant songwriters and lyricists of this period are considered George Zambetas, Manolis Hiotis and Vassilis Tsitsanis; of course the big names of this kind are still in Greek business. The more cheerful version of laïkó, called elafró laïkó (ελαφρολαϊκό - elafrolaïkó 'light laïkó') and it was often used in musicals during the Golden Age of Greek cinema. Contemporary laïkó (σύγχρονο λαϊκό), also called Modern laïkó, is currently Greece's mainstream music genre. Some of the strongest Greek dances and rhythms of today's Greek music culture laïká are Nisiótika, hasaposerviko, kalamatianos, zeibekiko and syrtaki and the most of them are set to music by the Greek instrumental bouzouki. So, on the one hand there is the homogenized Greek popular song, with all the idioms of traditional Greek folk music, and on the other, the peculiar musical trends of the urban rebetiko (song of the cities) known also in Greece as αστικό.[10]

Among the most significant songwriters and lyricists of this category are considered Akis Panou, George Zambetas, Apostolos Kaldáras, Giorgos Mitsakis, Babis Bakális, Giannis Papaioannou, and Eftichia Papagianopoulos. Many artists have combined the traditions of éntekhno and laïkó with considerable success, such as the composers Mimis Plessas, Stavros Xarchakos, and Giorgos Mouzakis, and the lyricist Lefteris Papadopoulos.

During the same era, there was also another kind of soft music (ελαφρά μουσική, also called ελαφρό - elafró 'soft (song)', literally 'light') which became fashionable; it was represented by ensembles of singers/musicians such as the Katsamba Brothers duo, the Trio Kitara, the Trio Belcanto, and the Trio Athene. The genre's sound was an imitation of the then contemporary Cuban and Mexican folk music[11] but also had elements from the early Athenian popular songs.

Modern laïká

Modern laïká or Laïko-pop is currently Greece's mainstream music.

Contemporary laïkó (σύγχρονο λαϊκό), (laiko-pop) (also called Modern laïkó) is currently Greece's mainstream music genre in today nightlife. Contemporary laïká emerged as a style in the early 1980s. An indispensable part of the contemporary laïká culture is the písta (πίστα - pl.: πίστες) "dance floor/venue". Night clubs at which the DJs play only contemporary laïká where colloquially known on the 90's as ellinádhika. Over the years until today, the aim of Greek music scene is only one: Quality. Virtuoso musicians and expressive singers take every season, with more professionalism and love for what they do to entertain the Greek audience, to lure and to make it dance with the songs and music that everyone loves. All this music effort take place in Europe and internationally. Greek-American music includes styles like Entechno, rebetiko and Greek folk music. The Greek music culture exists as a serious aspect of Hellenic culture, both within Greece and in the diaspora.

Renowned songwriters of modern laïká include Alekos Chrysovergis, Nikos Karvelas, Phoebus, Nikos Terzis, and the Pegasos duo (Antonis and Dimitris Paravomvolakis). Renowned lyricists include Giorgos Theofanous, Evi Droutsa, and Natalia Germanou.


In effect, there is no single name for modern laïká in the Greek language, but it is often formally referred to as σύγχρονο λαϊκό ([ˈsiŋxrono laiˈko]), a term which is however also used for denoting newly composed songs in the tradition of "proper" Laïkó; when ambiguity arises, σύγχρονο ('contemporary') λαϊκό or disparagingly λαϊκο-ποπ ('folk-pop', also in the sense of "westernized") is used for the former, while γνήσιο ('genuine') or even καθαρόαιμο ('pureblood') λαϊκό is used for the latter. The choice of contrasting the notions of "westernized" and "genuine" may often be based on ideological and aesthetic grounds.[12]


Despite its popularity, the genre of modern laïká (especially laïkο-pop) has come under scrutiny for "featuring musical clichés, average singing voices and slogan-like lyrics" and for "being a hybrid, neither laïkó, nor pop".[13]


Skyládiko Greek pronunciation: [sciˈlaðiko] (or Skyládika) (Greek: Σκυλάδικο, meaning "doghouse"), or nightclubs of Greece in big Greek cities as term, are considered by both the artistic establishments and recording companies as an expression of degradation and social decadence, in the field of laiko and pop music in Greece, borrowing elements and themes from the Byzantine eastern listenings, which are made Greek folk with the use of bouzouki, clarinet and other Greek instruments.[14]

Other popular trends

Folk singer-songwriters (τραγουδοποιοί) first appeared in the 1960s after Dionysis Savvopoulos' 1966 breakthrough album Fortighó. Many of these musicians started out playing Néo kýma, "New wave" (not to be confused with New Wave rock), a mixture of éntekhno and chansons from France. Savvopoulos mixed American musicians like Bob Dylan and Frank Zappa with Macedonian folk music and politically incisive lyrics. In his wake came more folk-influenced performers like Arleta, Mariza Koch, and Kostas Hatzis. This music scene flourished in a specific type of boîte de nuit.[15]

A notable musical trend in the 1970s (during the Junta of 1967–1974 and a few years after its end) was the rise in popularity of the topical songs (πολιτικό τραγούδι "political song"). Classic éntekhno composers associated with this movement include Mikis Theodorakis, Thanos Mikroutsikos, Giannis Markopoulos, and Manos Loïzos.[16]

Nikos Xydakis, one of Savvopoulos' pupils, was among the people who revolutionized laïkó by using orientalized instrumentation. His most successful album was 1987's Kondá sti Dhóxa miá Stigmí, recorded with Eleftheria Arvanitaki.

Thanasis Polykandriotis, laïkó composer and classically trained bouzouki player, became renowned for his mixture of rebetiko and orchestral music (as in his 1996 composition "Concert for Bouzouki and Orchestra No. 1").

A popular trend since the late 1980s has been the fusion of éntekhno (urban folk ballads with artistic lyrics) with pop / soft rock music (έντεχνο ποπ-ροκ).[17] Moreover, certain composers, such as Dimitris Papadimitriou have been inspired by elements of the classic éntekhno tradition and written songs cycles for singers of contemporary éntekhno music, such as Fotini Darra. The most renowned contemporary éntekhno (σύγχρονο έντεχνο) lyricist is Lina Nikolakopoulou.

There are however other composers of instrumental and incidental music (including filmscores and music for the stage), whose work cannot be easily classified, such as Giannis Markopoulos, Stamatis Spanoudakis, Giannis Spanos, Giorgos Hatzinasios, Giorgos Tsangaris, Nikos Kypourgos, Nikos Mamangakis, Eleni Karaindrou, and Evanthia Remboutsika. Vangelis and Yanni were among the few Greek instrumental composers who became internationally renowned; their work however had little influence on the tradition of Greek instrumental music.

Regarding "purely western" pop music, even though it has always had a considerable amount of listeners supporting it throughout the history of the post 1960s Greek music, it has only very recently (late 2000s) reached the popularity of laïkó/laïká, and there is a tendency among many urban folk artists to turn to more pop-oriented sounds.[18]


The following classification is conventional and categories may occasionally overlap with each other. Each artist is entried under the genre designation that the Greek musical press usually classifies him or her.

Néo Kýma


Contemporary éntekhno

1980s-2000s (partial overlap with contemporary laïkó and éntekhno pop)

Éntekhno pop / rock


Classic pop

1960s-1970s (songs from this period of Greek pop were mainly rock ballads and Italian-/French-style pop ballads)

Contemporary pop


Teen pop


Pop rock / Soft rock



Mainstream hip hop / Pop rap

1990s-2000s crews

Independent music scenes

Since the late 1970s various independent scenes of "marginal" musical genres have appeared in Greece (mainly in Athens, Piraeus, and Thessaloniki). Most of them were short-lived and never gained mainstream popularity but the most prominent artists/bands of these scenes are critically acclaimed today and are considered among the pioneers of independent Greek music (each one in their own genre).


See also


  1. ^ Greek music information center Ινστιτούτο έρευνας μουσικής και ακουστικής - Institute for research on music and acoustics.
  2. ^ Samuel Baud-Bovy, Δοκίμιο για το Ελληνικό Δημοτικό Τραγούδι, 3rd edition, Πελοποννησιακό Λαογραφικό Ίδρυμα, Ναύπλιο: 1966, p. 1-13. (Υπάρχει μια συνεχής εξέλιξη από την αρχαία Ελληνική μουσική έως και το δημοτικό τραγούδι, η οποία μαρτυρείται, εκτός από τη γλώσσα, στο ρυθμό, τη δομή και τη μελωδία).
  3. ^ Ulrich 1963, p. 25
  4. ^ Kartomi 1990, p. 124
  5. ^ Greek Orthodox Archdiocese of America.
  6. ^ The Columbia Electronic Encyclopedia, 6th ed. 2007 - "Byzantine music"
  7. ^ Gail Holst-Warhaft "Electrifying the Nisiotika"
  8. ^ Giorgos Papadakis "Για την Ελληνική μουσική"
  9. ^ "Κυρίαρχη αισθητική και μουσικό γούστο" - article on 'Kathimerini'
  10. ^ - "Ο ορος λαικοι χοροι "
  11. ^ Greek Music
  12. ^ "Oι εφτά ψυχές του λαϊκού τραγουδιού" - article on 'Kathimerini'
  13. ^ Article by Tasos P. Karantis on
  14. ^ Greek songs-skyladika
  15. ^ Takis Kalogeropoulos: "Neo Kyma" in Lexiko tis Ellinikis mousikis, Athens 1998–99. ISBN 960-7555-39-2 . (online version)
  16. ^ Greek music information center ( "Political Song"
  17. ^ In contemporary use though, the terms έντεχνο ποπ, and έντεχνο ροκ may be ambiguously used to denote, respectively, Grecophone indie pop and alternative rock, not necessarily having the typical characteristics of éntekhno.
  18. ^ "Στροφή στο ελληνικό τραγούδι" - article on 'Ta Nea'


  • Kartomi, Margaret J. (1990), On Concepts and Classifications of Musical Instruments, University of Chicago Press, ISBN 0226425487 .
  • Ulrich, Homer, and Paul Pisk (1963). A History of Music and Musical Style. New York: Harcourt Brace Jovanoich. LCCN 63013512 .
  • Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp. 126–142. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0 .
  • Notaras, Giorgos. Το ελληνικό τραγούδι των τελευταίων 30 χρόνων, 1991. ISBN 960-236-148-4 .
  • Kalogeropoulos, Takis. Λεξικό της Ελληνικής μουσικής, editions Γιαλλελή, 2001. ISBN 960-7555-39-2 .
  • Dubin, Marc and Pissalides, George (liner notes). Songs of the Near East, 2001.

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