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Music of the Chinese in Sabah: The Keyboard Culture

performed with Turkish musicians, often presenting a mixed Greco-Turkish repertoire to Greek audiences, was nothing short of cultural rebellion, and one that arguably did more to bring the two neighbouring peoples together than the politics of the time. So the importance of tracing this movement and of recognising its influence on a discourse on modern Greek identity cannot be overstated*even more so because no other book has done this in the English-speaking world. Kallimopoulou’s book is well informed on current ethnomusicological research methods and debates. Although occasionally burdened by its linguistic particularities, its mixture of argumentation, contextualisation and analysis makes it very appealing. As for paradosiaká’s future, as Kallimopoulou states at the end of her book, ‘one has only to wait and listen’ (215).