In recent Greek music history one can detect a number of ideological discords, particularly in the field of popular music. Such examples were particularly evident in the decades of the 1950s and 1960s. The attempt to reintroduce Greek folk music, on the one hand, and the pursuit of the establishment of a Greek “national school” in accordance with Western music standards, on the other, led to an aesthetic debate among, and sometimes beyond, the Greek intelligentsia. This battle, which had not only an aesthetic but also a political content, contributed to the genesis of a new musical genre: entechno-laiko (art-popular song).