ABSTRACT
Today, in a period described as one of Greek-Turkish friendship, a lot of musicians have their own networks of instrument-makers as well as teachers on the other side of the Aegean. Further, Turks now travel to Greece more frequently to perform or teach in seminars. As we have seen, though, Dynámeis, and earlier on the chanters, never quite pointed in the direction of Turkey; in the anti-Turkish atmosphere of the 1980s such a thing would be highly irregular. In this chapter I detail the encounter of paradosiaká with contemporary Turkish culture. With reference to the concerts of Bosphorus, a group of Turkish art musicians, and the musical activities that followed it, I discuss how Ottoman/Turkish music was received in Greece and the meanings it came to acquire in the process.
