ABSTRACT
This conclusion presents some closing thoughts on the key concepts discussed in the preceding chapters of this book. The book illustrates how an earlier version of modernisation, encapsulated in a German rebirth of Greek antiquity, was in the end rejected by Greek musicians. It deals with words and music without explicit reference to Greekness and its surrounding scenery, even if this does result in a considerable gear change in the discourse. The story in Greece bears comparison especially with that in Spain, where a partisan revolutionary hymn maintained its presence alongside the Marcha Real, and where various other ceremonial and revolutionary hymns emerged and receded, musically encoding different understandings of nationhood. Such ‘odes, anthems and battle songs’ constituted a primary mode of propaganda, with the emphasis placed fairly and squarely on instrumental rather than intrinsic value.
