Exposition

Approaching traditional music from Greece from the aspect of contemporary art (last edited: 2017)

Stamatis Pasopoulos
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About this exposition

Nowadays, the reference and use of the term “traditional” music, raises a number of interesting questions for many people, whose answers are always highly contextual. Questions such as: “What is the function and usefulness of traditional music in the 21st century?”, “What kind of attitude and handling is appropriate for it?”, “Which material can be included under this term and which not, and who is responsible for defining it?”, “What are the limits of a material commonly accepted as ‘traditional’, in which it can be expressed without being denatured to another musical genre? “ and, of course, the century-old mother of all questions “What is traditional music?” Considering the time at which this research was carried out, I find that, at least within the geographical area of Europe but perhaps elsewhere, and within a period where more and more people are trying to promote their diversity or even peculiarity, so as to achieve their social or even anthropological lifting, each person’ s own conception of "traditional" music can, act as one of the means towards the aforementioned goal. The isolation of this music in order to 'protect' it against foreign elements, the preservation of its supposed 'authenticity' and the strict rules and limits being set are some obvious indicators of this process. Within this context, traditional music often becomes a museum(1) exhibit that we can, theoretically, conceive with all our senses, except for the touch. Touch is characterized by both its passive and energetic character and this energy has the potential to change and distort things. Imagine a huge “Do not touch!” sign. “Do not touch”' because we do not have the necessary degree of connection to the “exhibit”, “Do not touch”, because even if we have this degree of association, we have not obtained the necessary approval from the person in charge. But, who is in charge after all? Is there one? Who has appointed her/him? Authenticity is a term that has the parameter of past time, so that any authentication attempt should refer to a fait accompli(2). In the case of traditional music, even though this accomplished event refers to some point in the past, it is nevertheless given the sense of a non-existent time, so that this past event can only be accessed, through hypotheses and senses; but senses lead to fallacy themselves, quoting Parmenides. Moreover, regarding the certification of the reference event, let us only refer to numerous disputes of the historical scientific community. These questions and thoughts triggered several endless discussions, which usually led to dead ends. The unconvincing nature of repetitive arguments around tradition served only as the dough generated new and bigger questions that followed me for at least the last decade as an artist, a person and above all as a musician, whose musical journey always references traditional music. (1) Even though the etymology of Museum suggests the place of the worship of the Muses, the term is used here to highlight the negative aspect of a severely sterilized context. (2) Proven event of the past
typeresearch exposition
date30/08/2017
last modified18/10/2017
statusprogress
share statuspublic
affiliationCodarts, University of the Arts
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/386369/386370
external linkwww.codarts.nl


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id name copyright license
386372 AR Pasopoulos (c) Stamatis Pasopoulos All rights reserved
386375 01. String Quartet (c) Stamatis Pasopoulos All rights reserved
386378 02. Mythos Ξ (c) Stamatis Pasopoulos All rights reserved
386380 03. Instruments of the geographical field (c) Stamatis Pasopoulos All rights reserved
386382 04. Stani mi Lentso (c) Stamatis Pasopoulos All rights reserved
386400 05. Lekka (c) Stamatis Pasopoulos All rights reserved
386404 06. Kasapiko (c) Stamatis Pasopoulos All rights reserved
386406 08. Lekka (c) Stamatis Pasopoulos All rights reserved
386410 09. Kasapiko (c) Stamatis Pasopoulos All rights reserved
386412 10. Vouroun daoulari (c) Stamatis Pasopoulos All rights reserved
386416 11. Vouroun daoulari (c) Stamatis Pasopoulos All rights reserved
386418 12. Vouroun daoulari (c) Stamatis Pasopoulos All rights reserved
386420 13. Vouroun daoulari (c) Stamatis Pasopoulos All rights reserved
386422 14. Dopios karsilamas (c) Stamatis Pasopoulos All rights reserved
386424 15. Burjanke (Pontismeno) (c) Stamatis Pasopoulos All rights reserved
386426 17. Burjanke (Kimisi) (c) Stamatis Pasopoulos All rights reserved
386428 18. Burjanke (Xiropotamos) (c) Stamatis Pasopoulos All rights reserved
386430 19. Burjanke (Petroussa) (c) Stamatis Pasopoulos All rights reserved
386432 20. Burjanke (Xirotopos) (c) Stamatis Pasopoulos All rights reserved
386434 21. Burjanke (Adelfiko) (c) Stamatis Pasopoulos All rights reserved
386437 22. Burjanke (Iraklia) (c) Stamatis Pasopoulos All rights reserved
397743 23. Gledai mi gleda (Pirgi) (c) Stamatis Pasopoulos All rights reserved
397745 24. Gledai me gleda (Adelfiko) (c) Stamatis Pasopoulos All rights reserved
397747 25. Gledai me gleda (Kimisi) (c) Stamatis Pasopoulos All rights reserved
397749 26. Gledai me gleda (Xiropotamos) (c) Stamatis Pasopoulos All rights reserved
397751 27. Eyzonikos (Xiropotamos) (c) Stamatis Pasopoulos All rights reserved
397753 28. Gaida (Flampouro) (c) Stamatis Pasopoulos All rights reserved
397755 29. Teska (Xiropotamos) (c) Stamatis Pasopoulos All rights reserved
397757 30. Nikolas (Xirotopos) (c) Stamatis Pasopoulos All rights reserved
397759 31. Varis antikristos (Kali Vrisi) (c) Stamatis Pasopoulos All rights reserved
397761 32. Varis antikristos (Kali Vrisi) (c) Stamatis Pasopoulos All rights reserved
397763 33. Marathikane ta horta (Xiropotamos) (c) Stamatis Pasopoulos All rights reserved
397765 34. Xipna Yioryi (Xiropotamos) (c) Stamatis Pasopoulos All rights reserved
397767 35. Tis pombis tou gamou (Volakas) (c) Stamatis Pasopoulos All rights reserved
397769 36. Indilia (Flambouro) (c) Stamatis Pasopoulos All rights reserved
397771 37. Kasapiko (Kali Vrisi) (c) Stamatis Pasopoulos All rights reserved
397773 38. Espire leventis (Pirgi) (c) Stamatis Pasopoulos All rights reserved
397775 39. Grabbed rhythm (c) Stamatis Pasopoulos All rights reserved
397777 41. Mana mou ta louloudia (Flambouro) (c) Stamatis Pasopoulos All rights reserved
397779 42. Polyphonic song (Xirotopos) (c) Stamatis Pasopoulos All rights reserved
397781 43. Polyphonic song (Xirotopos) (c) Stamatis Pasopoulos All rights reserved
397783 44. Mana mou ta louloudia sou (Flambouro) (c) Stamatis Pasopoulos All rights reserved
397785 45. Shope gaida (Flambouro) (c) Stamatis Pasopoulos All rights reserved
397787 46. Makedonia (Orini) (c) Stamatis Pasopoulos All rights reserved
397789 47. Ali Klotska (Flambouro) (c) Stamatis Pasopoulos All rights reserved
397791 48. Mitro le Mitro (Aggistro) (c) Stamatis Pasopoulos All rights reserved
397810 49. Body movement in a ceremony (c) Stamatis Pasopoulos All rights reserved
397812 50. Body movement in dromena (c) Stamatis Pasopoulos All rights reserved
397814 51. Dróosthai (trailer) (c) Stamatis Pasopoulos All rights reserved

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