ABSTRACT
From the mid-1980s, and especially the early 1990s, a younger generation of paradosiaká musicians comes to the forefront. In the majority some 20 years younger than early paradosiaká proponents such as Daly and Dynámeis, they may be said to constitute a generation to the extent that, despite marked diversity in their musical practice and outlook, they regard themselves as peers and share a number of traits besides their age-group. Notably, for most the initial stimulation came from within the indigenous movement – whether they listened to Daly, Bosphorus, Dynámeis or others – or at a time when paradosiaká had already reached a stage in its development when information (and sound material) concerning the instruments, their respective traditions and even their possible use in Greek musical contexts was becoming increasingly available. Unlike the early paradosiaká proponents, who literally discovered and proposed the instruments, this younger generation had from the very beginning a frame of reference – however narrow – for the instruments.
