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By contrast, larger towns and cities, consisting of separate ethnic districts, developed an urban conscience combined with socio-economic relations and inter-social competition and imitation that alienated each ethnic group from time-honored customs. New elements appeared which were foreign to all groups since they originated in western Europe. So the fashion of the times led the children of Turks, Bulgarians, and, even more so, the Greeks, to take piano and French lessons. The Greeks were always the most financially prosperous and had the closest ties to the West. From the urban centers, this cultural blend spread to the countryside, where the simple folk selected what they found to their liking and thought worth assimilating. So one finds various songs that were in fashion for a time and then forgotten in the cities, but were assimilated into a village's tradition and were sung decades later, e.g. as bridal songs. In the spreading of a musical style with common factors, an important part was also played by wandering musicians, who belonged to one of the three main ethnic groups. These musicians would not only play in their own celebrations, but, when the need arose, would also play in the celebrations of other ethnic groups. They knew perfectly well what songs and dances they should play each time but, either because they were asked to or for the sake of variety, they also played some of the dances from other traditions. So it was inevitable that names of dances, like the "Baidouska", should gradually enter the Greek traditional terminology. We don't know what the "Baidouska" was called by Greeks in the Middle Ages, but it is certain that it was a part of Greek tradition, since to the same rhythm there were carols and other songs dating back more than five centuries. In much the same way the name "tsesto" became common for the fast "zonaradiko" (belt-holding) dance, which used to be called "isios", "trellos" (mad) or "douzkos". The same thing is true of Macedonia as well.

The oldest songs of Thrace are the "Akritic" (border guards) songs, which can be found all over Greek-speaking regions (they date from the 9th to the 13th century). Around the same period, and classified together, are the paralogues (medieval ballads), most of the "Charon" (death) songs, as well as historical songs about events and persons of the period before the Fall of Constantinople (1453). The limited presence of "kleftes" ("rebels") in the period of Turkish rule before the Greek Revolution (1821) did not help the "kleftiko" song to flourish. It would be a mistake, however, to say that there is no Thracian "kleftiko" song, as several variations of "kleftiko" from Macedonia and other parts of Greece have been documented. Also, the few pre-revolution heroes of the wider region of Thrace, like Mihalbeis (ruler of Vlachiua), Yiannis Balkaniotis, Domna Vizvyzi, Captain Vangelis, Lefteris, and others, have their own local songs. There were also the historical songs in free narrative form. What one finds in abundance in all parts of Thrace are the songs for dancing, and the dances are numerous. Apart from the pre-eminently Thracian "Zonaradikos" dance in 6/8 time (3/3) there is the "Mantilato" in 7/8 time (2+2+3), the "Synkathisto" (in round or free form) in 9/8 time (4+2+3), the "Antikrysto" (paired) or "Karsilamas" dances usually in 9/8 time (2+2+2+3) and rarely in slow 7/8 time (3+2+2), the "Baidouska" (or "Tripato") in 5/8 time (2+3), the "Kasapika" (butchers' dances) in 2/4 time, the "Tapeino" (or Bridal) in 3/4 time, as well as the usual "Syrto", "Kalamatiano", "Ballo", etc. found in all parts of Greece. There also exist the less common dances, like the "Protopsoma", the "Kousseftos" (running), the "Laisios" (miming dance in imitation of a rabbit), the "Xesyrtos", the "Gikna", the "Troiro" (N. Thrace), the "Marantoi" (or Eastern dance), the "Diditzidikos" (camel-drivers' dance), the "Palaistras" (wrestlers' dance), the "Agitikos" (fire-walkers' dance) etc.

The instruments of Thracian tradition are unquestionably the Thracian lyre, the flute (pipe), the bagpipe and the tabor. Urban instruments, like the kanoon, the ud and the lyre of Constantinople, could also be characterized as traditionally Thracian since they were first used in Constantinople. Apart from these, there are also the instruments used in the art music of the great music masters, but were never assimilated in folk tradition, like the "lafta" (Constantinople lute), the "tamboura", the "nei" (cane-pipe) and others. Since the mid-19th century, however, the coastal parts of Thrace have been dominated by the island "zyia" (a two instrument band), composed of the violin and the lute, and sometimes also the santuri (hammered dulcimer). Much later, the clarinet invaded Thracian tradition, and today we have become accustomed to hearing Thracian music played by a band composed of a clarinet, violin, lute, ud, kanoon and vase-drum ("toubeleki"). In some cases, instead of the violin, we have the Constantinople lyre, while in the island-type dances of the coast the dulcimer is used instead of the kanoon. In other instances, the "flue (or "kavali") replaces or accompanies the clarinet. But unfortunately, these innovations have surpassed the bounds, allowing the use of the accordion or other keyboard instruments. Another unfortunate influence, and not only of Thracian tradition, are the new folk-type songs with low quality lyrics and music, which seem ridiculous compared to the marvelous genuine songs bequeathed us by the immortal popular Muse.

Chronis Aidonidis, the best-known performer of songs of Thrace, whose reputation and popularity are on a national scale, was born in 1928 in Karoti, near Didymoteichon, Thrace. The son of a priest, he grew up with the sounds of folk tunes sung by his mother, Chrysanthi, whose fine voice was influenced by church chants and the slow songs of Eastern Thrace. At an early age, Aidonidis began to memorize the songs sung by farmers in the fields and revelers in the village square on the major feast days. While in secondary school, he received his first formal lessons in Byzantine music from Michalis Kefalokoptis, a leading local chief cantor from Eastern Thrace. He also began taking his first theoretical lessons from Manakas, another cantor.

In recent years, Aidonidis has gained wide recognition, especially for his interpretations of the slow, sweet songs of Eastern Thrace with their characteristic Byzantine color. Thus, in the case of Chronis Aidonidis, we find the embodiment of Greek folk song sprung from Byzantine music in an unbroken continuity that has done much to gain him wider acceptance.
At age 73, Aidonidis continues to work on the music of his homeland. He has amassed hundreds of songs in addition to the original core of songs his mother taught him. Those songs are disappearing day by day, and only a few of them have been recorded on disc. His own discography is relatively large, and it includes: Thracian Songs with C. Aidonidis, Intersound 1980; Macedonian and Thracian Songs, Aidonidis, Recor 1980; Musical Ornamentation of Thrace, Aidonidis, Intersound 1981; C. Aidonidis, The Nightingales of the East, Songs of Thrace and Asia Minor with the participation of Yorgos Dalaras, Minos 1990; Songs of Constantinople and the Propontis, SDNM 1978; Songs from the fringes of Greece, Sinasos 1992; Constantinople is Fallen, Pella 1993.
Aidonidis is a frequent performer on radio and television, in concerts, and at other events. He has known and worked with many of the outstanding folk musicians in postwar Greece.

Skokie, IL.

Preveza, Greece.

First year dental student at UIC..

Almost two years (time flies).

I have been dancing since the third grade and I still love it.  Besides the enjoyment of performing the actual dances, dancing has also brought me closer to my Greek heritage and has intoduced me to some of my best friends.

Pidihtos from the island of Rhodes.

The festival in Saginaw, Michigan last summer.

Rizogalo (rice pudding).

Definately my horio (village) Papadates, but Ia in Santorini is a close second.

Traveling, architecture, and spending time with my friends.

My Greek school dance group.