Pontic Greek music, also called Pontian Greek music, comprises the musical traditions of the Pontic Greeks from antiquity to the modern day. Song and dance have a long history in the Pontos, ranging from ancient dances to the Acritic songs to folk songs. Certain dances date to ancient times, such as the pyrrhichios. Pontian music has evolved alongside Pontic dance.
Acritic songs, which describe folk heroes such as Digenes Akritas who lived and fought on the borders of the empire in Byzantine times, date to the medieval era. These songs were also sung in other parts of the Byzantine empire. Versions of the Acritic songs exist today, accompanied by modern Pontic instruments and singing techniques. More recent folk songs include love songs, mourning songs, and war songs. These date to the late 1800s or earlier during Ottoman times. After the Greek genocide and 1923 population exchange pushed most Pontians out of their traditional homeland, Pontians wrote new folk songs about their experiences in the diaspora. In the 1970s, the Neopontic genre emerged, which combined traditional Pontian folk music with contemporary Greek popular music.
Traditional instruments used in the 21st century include the lyra, daouli, zourna, dankiyo, touloum, and oud. Pontian folk music often incorporates polyphony, which is the simultaneous use of multiple melodies. Pontic music is structured in hexachords and typically has a rapid tempo. Asymmetric rhythms are common. Instrumental music may be accompanied by vocals, and singers typically use vibrato. Some songs are set up in a call-and-response style, with a lead singer and a chorus. The 5/8 rhythm is typical of modern Pontic music.
Pontic Greek music has been influenced by the various cultures present in the Black Sea region throughout history, especially Laz music.
Cultural role When Pontian refugees came from the Pontos to Greece in the 1920s, they brought traditions of music and folklore with them. Between the 1950s and the 1980s, Pontian clubs used music, dance, and folklore to portray themselves as both patriotic Greeks and as a distinct group unto themselves. At the time, Pontian singers tended to censor songs with Turkish verses in order to assimilate into Greek society. In the 1980s, as the original generation of Pontian refugees began to die off, Pontian musicians focused on remembering the original refugees and their experience. Musicians began to openly perform Pontian songs with Turkish verses, such as "Tsambasin."
A , or , is an important form of social get-together for Pontians in the 21st century, describing "a banquet where music is the main activity." gatherings feature music, including , or "tabletop melodies." Tablemates go back and forth, singing original or remembered rhyming couplets to one another. The couplets are in iambic meter or trochaic meter. The provides instrumental support. The goal of a performance is to express emotions through the use of remembered verses, and to share these feelings with one's community. Couplets may be used to communicate sorrow, to express longing, or to flirt. Scholar Ioannis Tsekouras argues that gatherings first emerged among refugees as ways to discuss their memories of genocide and deportation.
Instruments
Pontian musicians utilize a variety of instruments. One of the most commonly played instruments is the lyra, also called the Pontic kemençe or simply the kemençe. Pontians use their own language, Romeika, to describe instruments and their parts. For example, the soundholes on a lyra are called , literally "nostrils."
Lyra
The lyra is a three-stringed instrument made of dense wood. The instrument is tuned in fourths, typically from the highest string to the lowest string. Lyras come in three different sizes: the largest, about long, is called the and has the lowest pitch. The smallest, the , is long, and it has the highest pitch. The falls in the middle, both with regards to size and pitch.
Trills and mordents are common in lyra playing. The player, or , holds the instrument in their non-dominant hand, using their fingers to manipulate the strings. Like in violin, the presses down on the strings vertically. They hold the bow () in their dominant hand to play the lyra. The instrument is not held against the musician's chin, as with the violin; rather, the body () may rest in the musician's lap, or the neck () may rest against their shoulder. The may sing or lead a dance while playing. To produce polyphonic sounds, the presses down two strings with the same finger. There are four different hand positions for lyra playing, with first position being the most common.
The origin of the lyra is unknown. It may have ties to the Persian kamancheh or to other Byzantine or medieval European instruments. The lyra is shared with other cultures in the area, including Lazes and Turks. In rural parts of the Black Sea region, Islamic preachers have decried the lyra as a , a "giaour (infidel) instrument." There is some stigma associated with the lyra; in Turkey, stereotypes exist of lyra players as promiscuous, irreligious alcoholics. Some devout Muslims in the Black Sea area believe that playing the lyra is a sin. Nevertheless, it is an important part of the local folk culture.
Daouli The daouli is a percussion instrument used by Pontians. This double-sided drum is used throughout the Middle East and the Balkans, where it goes by many different names. A is made from a wooden cylinder, usually beech or walnut, covered by goatskin on both sides. The instrument is suspended by a strap around the percussionist's neck and torso. The percussionist plays by hitting the with two wooden drumsticks. One is thicker, and is held in the dominant hand; the other, thinner drumstick is held in the non-dominant hand. Sizes of may vary. Illustrations of the appear in Byzantine manuscripts from the 800s. It is always played alongside other instruments, typically at large outdoor gatherings.
Touloum
The touloum is a bagpipe, also played by Laz people and Hemshins. It has two melody pipes, no drone pipe, and is played to accompany folk dances. The bag itself is typically made of goatskin or sheepskin, while the two pipes are made of cane. The bagpipe has five fingerholes, some of which may be plugged with wax to achieve different sounds. By manipulating the fingerholes, it is possible for musicians to produce double sounds, so they can play polyphonically. The two melody pipes allow for heterophony. Although the instrument is not very popular among the Pontian diaspora, the touloum is undergoing a revival in Turkey. Some Turkish artists, including Laz and Hemshin musicians, released albums with touloum music in the 2010s and 2020s.
Other instruments Another Pontian instrument is the zourna, also called (literally "the rooster"). The is a woodwind instrument related to the oboe. They come in various sizes, ranging from . The has seven airholes, and a thumbhole on which the (zourna player) places their thumb.
Pontians also play the , a six-hole flute similar to the tin whistle of the British Isles or the bansuri of the Indian subcontinent. Pontians also play the pipiza, another wind instrument similar to the zourna. Another is the floghera, a type of flute. Additionally, Pontians from certain regions have traditionally played the kemane, the oud, and the violin. The violin, however, is played upright in the musician's lap, as if it were a lyra. Pontians in Georgia may use the accordion rather than the lyra.Kótsari kalón xoró – Kotsari Dance; performer: Feliks Nikolaou (Odisea Nikolaidi); camera/interview: Thede Kahl, Andreea Pascaru; transcription: Thede Kahl, Sotirios Rousiakis; translation: Sotirios Rousiakis; editor: Helmut Sandeck; collected by the Austrian Academy of Sciences, retrieved from VLACH, ID: pont1253GEV0001a Vocals are also part of Pontian music. Singers tend to use vibrato. Often, a leader will sing a line, and then a chorus of other singers will repeat that line. Sometimes singers duet with one leading.
Byzantine period
Some Romeika-language Acritic songs date back to the Byzantine Empire and Empire of Trebizond. These songs depict , soldiers who defended the eastern border of the Byzantine Empire. The Acritic songs featured folk heroes such as Digenes Akritas. – Marandos received a letter; performer: Kostas Siamidis (lyra), Giorgos Stefanidis (voice), Achilleas Vasileiadis (voice); camera/ interview: Thede Kahl; transcription/ translation: Thede Kahl; editor: Antonio Fichera, collected by the Austrian Academy of Sciences, retrieved from VLACH, ID number: pont1253GRV0003a. Acritic songs were first collected in Trabzon in the 1870s. One song, , ("Marandos received a letter") depicts a legendary soldier named Marandos, who goes to war for seven years and leaves his young wife. Upon his return, his wife fails to recognize him. The homecoming theme is reminiscent of nostos from classic Greek literature.
The Acritic songs offer glimpses into medieval Pontian life. Both and ("When Akritas plowed") discuss livestock, farming equipment, and traditional farming techniques.Akrítas óndes élamnen – When Akritas plowes; performer: Kostas Siamidis (lyra), Giorgos Stefanidis (voice), Achilleas Vasileiadis (voice); camera/ interview/ transcription/ translation: Thede Kahl; editor: Antonio Fichera, collected by the Austrian Academy of Sciences, retrieved from VLACH, ID number: pont1253GRV0004a. The song follows Akrítas, literally "frontiersman," who speaks to a small bird. The bird sits on his ploughshare while he works and sings to him. It says,
Birds, including the eagle, are a common motif in Pontian folklore. One song, ("An eagle flew high"), describes an eagle carrying the arm of an unknown soldier in its claws. The fallen soldier himself lies dead on the mountainside. Many Acritic songs from the Pontos are allegorical, referencing struggles against outsiders and conquerors.Aitén-ts eperipétanen –An eagle flew high; performer: Kostas Siamidis (lyra), Giorgos Stefanidis (voice), Achilleas Vasileiadis (voice); camera/ interview transcription/ translation: Thede Kahl; editor: Antonio Fichera, collected by the Austrian Academy of Sciences, retrieved from VLACH, ID number: pont1253GRV0005a.
Another Acritic song, ("The castle of the sun"), dates from the 1400s. The song is also known as , ("Beauty's Castle"). The ballad centers on a Byzantine castle with a young woman living inside. Turkish soldiers had tried and failed to take the castle for years. However, a young Pontian who had defected to the Turkish side deceived the people living in the castle into opening the gate.T-íl' to kástron – The castle of the sun; performer: Kostas Siamidis (lyra), Giorgos Stefanidis (voice), Achilleas Vasileiadis (voice); camera/ interview: Thede Kahl, Andreea Pascaru; transcription/ translation: Thede Kahl; editor: Antonio Fichera, collected by the Austrian Academy of Sciences, retrieved from VLACH, ID number: pont1253GRV0002a.
Early modern Ioannis Parharidis, a Pontian Greek teacher born in Trabzon in 1858, did field work studying Romeika-language musical traditions around the Black Sea region. In Christian villages near Trapezounta, he found that people sang traditional folk songs. These related to historical events and had a patriotic character. Greek Orthodox Pontians also sang , or mourning songs, for the recently deceased.
In the Ophis region, which had a population of Sunni Muslim Romeika speakers, Parharidis found that the locals tended to improvise songs rather than sing well-known folk songs. Additionally, villagers participated in dialogs called , literally meaning "battle of words." During the dialog, two singers joked, argued, and attempted to outsmart one another using rhyming lyrics. Muslim Romeika speakers also sang . Their lyrics mixed Romeika and Turkish.