My thesis examines an urban musical movement which emerged in post-dictatorship Greece out of a renewed interest among Athenian youth in exploring and drawing upon various musical traditions of Greece and Asia Minor. Central to this movement, sometimes termed paradhosiaka, was the importation and appropriation of a number of Eastern instruments at the time found mainly in Turkey. This subsequently led to the formation of a syncretic musical idiom which draws from a variety of folk and urban regional styles and repertoires of Greece and Turkey, and also incorporates new compositions, improvisation, and experimentation with the playing techniques of the Eastern instruments. The discussion is based on a comparative examination of sound and meanings constructed through sound, drawing from material collected during fieldwork through interviews and participant observation. The main focus is on the construction of ideology and identity in paradhosiaka. An account is given of the migration of the Eastern instruments from Turkey to Greece, and of the resulting process of'indigenization', involving therefore an analysis of how the genre was drawn into official and popular discourses of 'Greekness', and how it provided in turn a site for both the elaboration and the smudging of the distinction between 'Greek' and 'Turkish'. At the same time, individual paradhosiaka actors and their music are considered, as well as the ways in which different ideas, values and senses of self are accommodated and intersect within the same 'revival' movement.