Gerasimos Sofoklis Papadopoulos
Gerasimos Sofoklis Papadopoulos was born in Athens in 1988. He spent his early years in Cyprus, where he had his first chanting lessons by Fr Charalambos Zoumos. He has a bachelor degree in Greek Philology (Linguistics) from the University of Athens (2013). In 2011, he obtained the diploma of Byzantine music under the supervision of dr Grigorios Anastasiou. In his thesis, he thoroughly compared Turkish makams with Byzantine echoi. He studied Turkish oud and makam theory with Alexandros Papadimitrakis, Yurdal Tokcan, Christos Tsiamoulis, Muhittin Kemal Temel and Harris Lambrakis. He also took ottoman-singing lessons from Ahmet Erdoğdular. In 2015, he completed his Master courses in Linguistics (University of Athens), being focused on the cognitive approach of Critical Discourse Analysis. Since the March of 2017, he is a PhD candidate in Byzantine Musicology, under the supervision of prof. Achilleas Chaldeakis. The title of his thesis is “Descriptive Treatise of Contemporary Psaltic Art: A linguistic approach to the New Method notation and its interpretation”. He was a fellow of the SYLFF Fellowship Program (Sasakawa Young Leaders Fellowship Found) for the academic year 2017-2018. He works as a chanter since 2009 and he is permanent member of the famous byzantine choir “Maistors of Psaltic Art”. He also works as a musician and oud & buzuki player in various rebetiko, traditional and ethnic bands in Athens, as well as a composer of modal music. Since Jenuary 2018, he teaches makam theory at the Center for Greek Music “Foivos Anogianakis”. Since February 2021, he teaches "English terminology of Byzantine Musicology" at the European University of Cyprus.
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Συγκεκριμένα:
https://www.huffingtonpost.gr/entry/methoi-kai-aletheies-yia-te-vezantine-moesike_gr_643958f6e4b066950599f695
https://www.efsyn.gr/stiles/apopseis/386021_mythoi-kai-alitheies-gia-ti-byzantini-moysiki
https://www.philenews.com/politismos/kritikes/article/1697465
https://www.larissanet.gr/2023/04/13/mythoi-kai-alitheies-gia-ti-vyzantini-mousiki/
https://www.thesspress.gr/mythoi-kai-alitheies-gia-ti-vyzantini-mousiki/
https://diafaneia.eu/%ce%bc%cf%8d%ce%b8%ce%bf%ce%b9-%ce%ba%ce%b1%ce%b9-%ce%b1%ce%bb%ce%ae%ce%b8%ce%b5%ce%b9%ce%b5%cf%82-%ce%b3%ce%b9%ce%b1-%cf%84%ce%b7-%ce%b2%cf%85%ce%b6%ce%b1%ce%bd%cf%84%ce%b9%ce%bd%ce%ae-%ce%bc%ce%bf/
https://www.aftodioikisi.com.cy/%ce%bc%cf%8d%ce%b8%ce%bf%ce%b9-%ce%ba%ce%b1%ce%b9-%ce%b1%ce%bb%ce%ae%ce%b8%ce%b5%ce%b9%ce%b5%cf%82-%ce%b3%ce%b9%ce%b1-%cf%84%ce%b7-%ce%b2%cf%85%ce%b6%ce%b1%ce%bd%cf%84%ce%b9%ce%bd%ce%ae-%ce%bc%ce%bf/
https://www.palmosev.gr/ekklisia/mythoi-kai-alitheies-gia-ti-vyzantini-moysiki/
https://www.agrinionews.gr/mythoi-alitheies-ti-vyzantini-moysiki/
https://www.haniotika-nea.gr/mythoi-kai-alitheies-gia-ti-vyzantini-moysiki/
http://lefteria.blogspot.com/2023/04/blog-post_1041.html
https://www.inewsgr.com/351/mythoi-kai-alitheies-gia-ti-vyzantini-mousiki.htm
https://www.emprosnet.gr/emprosnet-archive/mythoi-kai-alitheies-gia-ti-vyzantini-mousiki?fbclid=IwAR0r2BB27XASPwpEU09EYLYwTyd8reFK4Bhv7FX6vhOmtI7ELk8AK0imno0
My theoretical background consists of saussurean and chomskyan linguistic notions adapted to psaltic art. Specifically: a) I underline the necessity for a descriptive analysis of psaltic art, instead of current prescriptive approaches, b) I consider music to be a structured system, c) I describe music sign as having to facets: the music signified (composer's music idea) and the music signifier (the score and the performance), d) I describe the whole process of music communication which includes a bilateral 'music production' phase (music configuration and performance) and a 'music receipt' phase (listening), e) I point out the importance of synchrony-diachrony distinction especially for the psaltic art case, as well as the priority of synchrony's study, and f) I outline the adept listener's profile, whose basic feature is the music intuition which helps him/her to understand what is accepted and what is unaccepted in the frame of the psaltic music idiom.
Regarding the application of the above theories for the analysis of psaltic art's data, I suggest – based on American structuralistic methodology – the following process: a) collection of psaltic compositions notated in New Method, as well as recorded performances by chanters who represent various psaltic 'schools', b) analysis of these corpora in order to distinguish various morphological levels and to find particular music behaviours corresponded to every level, and c) distinction between Modes and modes, where the former correspond to the traditional classification in octoechos and the latter to a pure morphological classification, in order to keep the musicological character of the treatise as well as its practicality.
Το θεωρητικό μου υπόβαθρο συνίσταται σε έννοιες της θεωρητικής γλωσσολογίας, όπως διατυπώθηκαν από τον Saussure και συμπληρώθηκαν από τον Chomsky, οι οποίες προσαρμόστηκαν για τους σκοπούς της εργασίας αυτής. Συγκεκριμένα: α) αναδεικνύεται η αναγκαιότητα για περιγραφική ανάλυση της ψαλτικής τέχνης, σε αντιπαραβολή με την προϋπάρχουσα ρυθμιστική προσέγγιση, β) η μουσική αντιμετωπίζεται ως σύστημα με δομή, γ) εντοπίζεται το μουσικό σημείο του οποίου οι δύο εκφάνσεις είναι το μουσικό σημαινόμενο (μουσική ιδέα δημιουργού) και το μουσικό σημαίνον (παρτιτούρα και εκτέλεσή της), δ) περιγράφεται συνολικά η διαδικασία μουσικής επικοινωνίας η οποία αποτελείται από την διμερή μουσική παραγωγή (μουσική δημιουργία και εκτέλεση) και από την μουσική πρόσληψη (ακρόαση), ε) αναδεικνύεται η σημασία της διάκρισης συγχρονία – διαχρονία ειδικά στην περίπτωση της ψαλτικής τέχνης, με προτεραιότητα στη μελέτη της συγχρονίας, και στ) σκιαγραφείται το προφίλ του έμπειρου ακροατή, βασικό χαρακτηριστικό του οποίου είναι η μουσική διαίσθηση που τον βοηθά να καταλαβαίνει τι είναι αποδεκτό και τι μη αποδεκτό στα πλαίσια του ψαλτικού ιδιώματος.
Ως προς την εφαρμογή των παραπάνω θεωριών στην ανάλυση των δεδομένων της ψαλτικής τέχνης, προτείνονται – με βάση τη μεθοδολογία του αμερικανικού δομισμού – οι εξής διαδικασίες: α) περισυλλογή corpus μελουργικών κειμένων στη Νέα Μέθοδο και ηχογραφημένων εκτελέσεών τους από ψάλτες-εκπροσώπους των διαφόρων ψαλτικών “σχολών”, β) ανάλυσή τους με σκοπό τη διάκριση των διαφορετικών μορφολογικών επιπέδων και την αντιστοίχιση των μουσικών συμπεριφορών ανά επίπεδο, και γ) διάκριση Ήχων και ήχων, όπου οι πρώτοι θα αντιστοιχούν στην παραδοσιακή κατανομή των μελών στην οκταηχία και οι δεύτερη στην ταξινόμηση των μελών σε ομάδες όμοιας μορφολογίας, με σκοπό τη διατήρηση της μουσικολογικής ακεραιότητας ταυτόχρονα με τη διασφάλιση της πρακτικότητας του θεωρητικού.
Rebetiko is a music genre which includes songs called rebetika. These were composed and played by Rebetes, a semi-illegal social group that acted in Greek urban centers from the end of 19th untill the first half of 20th century. This group had its own social dialect, Μangika. Several words and expressions from the Μangika so-ciolect can be found in rebetika songs and are also used today in modern Greek vernacular language. Taking evidence from the closed character of Rebetes' society, as well as the popularity of Rebetiko music in Greece, I argue that Rebetiko mediated between the language of Rebetes and modern Greeks for this lexical borrowing. In this paper I examine this hypothesis separating my analysis in three parts. Each part attempts to answer one of three essential questions: when, how and why did the borrowing from Μangika to modern Greek vernacular take place? My basic findings are the following: (a) Based on Damianakos' (Δαμιανάκος 2001) sociological analysis of Rebetika, I distinguish three periods of borrowing from Μangika: the 1st period: 1922–1940, the 2nd period: 1940–1953, and the 3rd period: 1970 until today. In the latter, Rebetiko 'revived' as 'museum music' played by self-proclaimed 'Neo-Rebetes' and became widespread because of re-editions of old records. (b) Using Milroy & Milroy's (1992) notion of social networks, I describe how the borrowing of the first two periods took place: between 1922–1953 Rebetes had weak links with illegals, on the one hand, and with the working class, on the other. Thus, they became innovators and/or instigators of lexical borrowing. For the third period, given the Rebetes' two decades of dissolution, I highlight the mediating role of music as a carrier of words of an inactive sociolect. (c) For the two first periods of borrowing I claim that popular strata found rebetika songs attractive because they described a stoic way of living and expressed common experiences like love, pain, misery, nostalgia etc. Finally, for the third period, I suggest the notion of prestige of the past to display my assertion that Greek people (mainly youth) often juxtapose their lives with the symbolized and beautified past world of Rebetes. This explains the borrowing of Μangika's words from rebetika songs in modern Greek vernacular from 1970 until today.
In this project, having embodied realism as my starting point (while keeping a critical eye on it), I attempt to answer the above question. My basic assumption is that consciousness is the primary image schema, upon which conceptualization is structured. In order to examine this assumption, I consider various theories of consciousness, Mikhail Bakhtin's philosophical ideas regarding consciousness and language, as well as Jacques Lacan's psychoanalytic views on the mirror stage and the construction of subjectivity. In addition, I take into account findings coming from research in cognitive and developmental psychology, as well as in neuroscience. The conclusions of this study is summarised into a suggested model, which essentially attempts to shed light on the ancient issue of concept ontogenesis and the overall structure of conceptualization.
Συγκεκριμένα:
https://www.huffingtonpost.gr/entry/methoi-kai-aletheies-yia-te-vezantine-moesike_gr_643958f6e4b066950599f695
https://www.efsyn.gr/stiles/apopseis/386021_mythoi-kai-alitheies-gia-ti-byzantini-moysiki
https://www.philenews.com/politismos/kritikes/article/1697465
https://www.larissanet.gr/2023/04/13/mythoi-kai-alitheies-gia-ti-vyzantini-mousiki/
https://www.thesspress.gr/mythoi-kai-alitheies-gia-ti-vyzantini-mousiki/
https://diafaneia.eu/%ce%bc%cf%8d%ce%b8%ce%bf%ce%b9-%ce%ba%ce%b1%ce%b9-%ce%b1%ce%bb%ce%ae%ce%b8%ce%b5%ce%b9%ce%b5%cf%82-%ce%b3%ce%b9%ce%b1-%cf%84%ce%b7-%ce%b2%cf%85%ce%b6%ce%b1%ce%bd%cf%84%ce%b9%ce%bd%ce%ae-%ce%bc%ce%bf/
https://www.aftodioikisi.com.cy/%ce%bc%cf%8d%ce%b8%ce%bf%ce%b9-%ce%ba%ce%b1%ce%b9-%ce%b1%ce%bb%ce%ae%ce%b8%ce%b5%ce%b9%ce%b5%cf%82-%ce%b3%ce%b9%ce%b1-%cf%84%ce%b7-%ce%b2%cf%85%ce%b6%ce%b1%ce%bd%cf%84%ce%b9%ce%bd%ce%ae-%ce%bc%ce%bf/
https://www.palmosev.gr/ekklisia/mythoi-kai-alitheies-gia-ti-vyzantini-moysiki/
https://www.agrinionews.gr/mythoi-alitheies-ti-vyzantini-moysiki/
https://www.haniotika-nea.gr/mythoi-kai-alitheies-gia-ti-vyzantini-moysiki/
http://lefteria.blogspot.com/2023/04/blog-post_1041.html
https://www.inewsgr.com/351/mythoi-kai-alitheies-gia-ti-vyzantini-mousiki.htm
https://www.emprosnet.gr/emprosnet-archive/mythoi-kai-alitheies-gia-ti-vyzantini-mousiki?fbclid=IwAR0r2BB27XASPwpEU09EYLYwTyd8reFK4Bhv7FX6vhOmtI7ELk8AK0imno0
My theoretical background consists of saussurean and chomskyan linguistic notions adapted to psaltic art. Specifically: a) I underline the necessity for a descriptive analysis of psaltic art, instead of current prescriptive approaches, b) I consider music to be a structured system, c) I describe music sign as having to facets: the music signified (composer's music idea) and the music signifier (the score and the performance), d) I describe the whole process of music communication which includes a bilateral 'music production' phase (music configuration and performance) and a 'music receipt' phase (listening), e) I point out the importance of synchrony-diachrony distinction especially for the psaltic art case, as well as the priority of synchrony's study, and f) I outline the adept listener's profile, whose basic feature is the music intuition which helps him/her to understand what is accepted and what is unaccepted in the frame of the psaltic music idiom.
Regarding the application of the above theories for the analysis of psaltic art's data, I suggest – based on American structuralistic methodology – the following process: a) collection of psaltic compositions notated in New Method, as well as recorded performances by chanters who represent various psaltic 'schools', b) analysis of these corpora in order to distinguish various morphological levels and to find particular music behaviours corresponded to every level, and c) distinction between Modes and modes, where the former correspond to the traditional classification in octoechos and the latter to a pure morphological classification, in order to keep the musicological character of the treatise as well as its practicality.
Το θεωρητικό μου υπόβαθρο συνίσταται σε έννοιες της θεωρητικής γλωσσολογίας, όπως διατυπώθηκαν από τον Saussure και συμπληρώθηκαν από τον Chomsky, οι οποίες προσαρμόστηκαν για τους σκοπούς της εργασίας αυτής. Συγκεκριμένα: α) αναδεικνύεται η αναγκαιότητα για περιγραφική ανάλυση της ψαλτικής τέχνης, σε αντιπαραβολή με την προϋπάρχουσα ρυθμιστική προσέγγιση, β) η μουσική αντιμετωπίζεται ως σύστημα με δομή, γ) εντοπίζεται το μουσικό σημείο του οποίου οι δύο εκφάνσεις είναι το μουσικό σημαινόμενο (μουσική ιδέα δημιουργού) και το μουσικό σημαίνον (παρτιτούρα και εκτέλεσή της), δ) περιγράφεται συνολικά η διαδικασία μουσικής επικοινωνίας η οποία αποτελείται από την διμερή μουσική παραγωγή (μουσική δημιουργία και εκτέλεση) και από την μουσική πρόσληψη (ακρόαση), ε) αναδεικνύεται η σημασία της διάκρισης συγχρονία – διαχρονία ειδικά στην περίπτωση της ψαλτικής τέχνης, με προτεραιότητα στη μελέτη της συγχρονίας, και στ) σκιαγραφείται το προφίλ του έμπειρου ακροατή, βασικό χαρακτηριστικό του οποίου είναι η μουσική διαίσθηση που τον βοηθά να καταλαβαίνει τι είναι αποδεκτό και τι μη αποδεκτό στα πλαίσια του ψαλτικού ιδιώματος.
Ως προς την εφαρμογή των παραπάνω θεωριών στην ανάλυση των δεδομένων της ψαλτικής τέχνης, προτείνονται – με βάση τη μεθοδολογία του αμερικανικού δομισμού – οι εξής διαδικασίες: α) περισυλλογή corpus μελουργικών κειμένων στη Νέα Μέθοδο και ηχογραφημένων εκτελέσεών τους από ψάλτες-εκπροσώπους των διαφόρων ψαλτικών “σχολών”, β) ανάλυσή τους με σκοπό τη διάκριση των διαφορετικών μορφολογικών επιπέδων και την αντιστοίχιση των μουσικών συμπεριφορών ανά επίπεδο, και γ) διάκριση Ήχων και ήχων, όπου οι πρώτοι θα αντιστοιχούν στην παραδοσιακή κατανομή των μελών στην οκταηχία και οι δεύτερη στην ταξινόμηση των μελών σε ομάδες όμοιας μορφολογίας, με σκοπό τη διατήρηση της μουσικολογικής ακεραιότητας ταυτόχρονα με τη διασφάλιση της πρακτικότητας του θεωρητικού.
Rebetiko is a music genre which includes songs called rebetika. These were composed and played by Rebetes, a semi-illegal social group that acted in Greek urban centers from the end of 19th untill the first half of 20th century. This group had its own social dialect, Μangika. Several words and expressions from the Μangika so-ciolect can be found in rebetika songs and are also used today in modern Greek vernacular language. Taking evidence from the closed character of Rebetes' society, as well as the popularity of Rebetiko music in Greece, I argue that Rebetiko mediated between the language of Rebetes and modern Greeks for this lexical borrowing. In this paper I examine this hypothesis separating my analysis in three parts. Each part attempts to answer one of three essential questions: when, how and why did the borrowing from Μangika to modern Greek vernacular take place? My basic findings are the following: (a) Based on Damianakos' (Δαμιανάκος 2001) sociological analysis of Rebetika, I distinguish three periods of borrowing from Μangika: the 1st period: 1922–1940, the 2nd period: 1940–1953, and the 3rd period: 1970 until today. In the latter, Rebetiko 'revived' as 'museum music' played by self-proclaimed 'Neo-Rebetes' and became widespread because of re-editions of old records. (b) Using Milroy & Milroy's (1992) notion of social networks, I describe how the borrowing of the first two periods took place: between 1922–1953 Rebetes had weak links with illegals, on the one hand, and with the working class, on the other. Thus, they became innovators and/or instigators of lexical borrowing. For the third period, given the Rebetes' two decades of dissolution, I highlight the mediating role of music as a carrier of words of an inactive sociolect. (c) For the two first periods of borrowing I claim that popular strata found rebetika songs attractive because they described a stoic way of living and expressed common experiences like love, pain, misery, nostalgia etc. Finally, for the third period, I suggest the notion of prestige of the past to display my assertion that Greek people (mainly youth) often juxtapose their lives with the symbolized and beautified past world of Rebetes. This explains the borrowing of Μangika's words from rebetika songs in modern Greek vernacular from 1970 until today.
In this project, having embodied realism as my starting point (while keeping a critical eye on it), I attempt to answer the above question. My basic assumption is that consciousness is the primary image schema, upon which conceptualization is structured. In order to examine this assumption, I consider various theories of consciousness, Mikhail Bakhtin's philosophical ideas regarding consciousness and language, as well as Jacques Lacan's psychoanalytic views on the mirror stage and the construction of subjectivity. In addition, I take into account findings coming from research in cognitive and developmental psychology, as well as in neuroscience. The conclusions of this study is summarised into a suggested model, which essentially attempts to shed light on the ancient issue of concept ontogenesis and the overall structure of conceptualization.
Μεταγραφή του Γεράσιμου–Σοφοκλή Παπαδόπουλου στη Νέα Μέθοδο, από καταγραφή του Κοντακίου στα τέλη του 16ου αιώνα στο Κιεβικό πεντάγραμμο (Ειρμολόγιο της Λβιβ, φφ. 119v-120r). Τα ισοκρατήματα προστέθηκαν εκ των υστέρων. Η εκδοχή αυτή αναλύεται στο άρθρο του Γεράσιμου–Σοφοκλή Παπαδόπουλου (2023) Ιστορικοσυγκριτική ανασκόπηση της Βυζαντινής Μουσικής - αλληλοδανεισμοί και θυγατρικές μουσικές παραδόσεις": https://www.academia.edu/97444008/%CE%99%CF%83%CF%84%CE%BF%CF%81%CE%B9%CE%BA%CE%BF%CF%83%CF%85%CE%B3%CE%BA%CF%81%CE%B9%CF%84%CE%B9%CE%BA%CE%AE_%CE%B1%CE%BD%CE%B1%CF%83%CE%BA%CF%8C%CF%80%CE%B7%CF%83%CE%B7_%CF%84%CE%B7%CF%82_%CE%92%CF%85%CE%B6%CE%B1%CE%BD%CF%84%CE%B9%CE%BD%CE%AE%CF%82_%CE%9C%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE%CF%82_%CE%B1%CE%BB%CE%BB%CE%B7%CE%BB%CE%BF%CE%B4%CE%B1%CE%BD%CE%B5%CE%B9%CF%83%CE%BC%CE%BF%CE%AF_%CE%BA%CE%B1%CE%B9_%CE%B8%CF%85%CE%B3%CE%B1%CF%84%CF%81%CE%B9%CE%BA%CE%AD%CF%82_%CE%BC%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AD%CF%82_%CF%80%CE%B1%CF%81%CE%B1%CE%B4%CF%8C%CF%83%CE%B5%CE%B9%CF%82
https://www.youtube.com/watch?v=2zgY35sA878&ab_channel=GerasimosPapadopoulos'music%26paramusic
[*We have only changed the part "ευχαριστούμεν διά την με-" since it is written (or it was chanted) - probably by mistake - one tone lower than the melodic line indicated by the Old Method score. We also fixed a mistake in the lyrics of the 4th verse ("Κύριε ο Θεός")]
To listen to the album:
YouTube: https://www.youtube.com/watch?v=Ly8BHEMYaY8&feature=youtu.be
Spotify: https://open.spotify.com/album/3RhfYBWX21dRF3B9owlX5m
AppleMusic: https://music.apple.com/us/album/byzantine-hymns/1611230532?uo=4&app=itunes&at=1001lry3&ct=dashboard
iTunes: https://music.apple.com/us/album/byzantine-hymns/1611230532?uo=4&app=itunes
Deezer: https://www.deezer.com/en/album/297782282
Amazon: https://www.amazon.com/gp/product/B09T4GSYL5
Distrokid: https://distrokid.com/hyperfollow/gerasimospapadopoulos/byzantine-hymns
Για να ακούσετε το άλμπουμ:
YouTube: https://www.youtube.com/watch?v=Ly8BHEMYaY8&feature=youtu.be
Spotify: https://open.spotify.com/album/3RhfYBWX21dRF3B9owlX5m
AppleMusic: https://music.apple.com/us/album/byzantine-hymns/1611230532?uo=4&app=itunes&at=1001lry3&ct=dashboard
iTunes: https://music.apple.com/us/album/byzantine-hymns/1611230532?uo=4&app=itunes
Deezer: https://www.deezer.com/en/album/297782282
Amazon: https://www.amazon.com/gp/product/B09T4GSYL5
Distrokid: https://distrokid.com/hyperfollow/gerasimospapadopoulos/byzantine-hymns
ΧΟΡΤΟ ΠΗΛΙΟΥ, 21-25 ΙΟΥΛΙΟΥ 2020
Συντονιστής: Αχιλλέας Τίγκας
Συμμετέχει η Ορχήστρα Ανατολικής Μουσικής Κ.Ε.Μ.Φ.Α. (Κέντρο Ελληνικής Μουσικής «Φοίβος Ανωγειανάκης»)
Καθώς η οθωμανική μουσική διέπεται από μια πλούσια παράδοση, το παρόν εργαστήρι θα επικεντρωθεί στο ρεπερτόριο φωνητικής και οργανικής μουσικής της Κωνσταντινούπολης από τον 18ο έως τον 20ο αιώνα, κοσμικής και θρησκευτικής. Στις συναντήσεις -έχοντας την πρόθεση το κλασικό αυτό ρεπερτόριο να προσεγγιστεί υπό μια σύγχρονη οπτική γωνία, αναδεικνύοντας ταυτόχρονα την ανατολίτικη μελωδία με μια τυπική ορχήστρα ανάλογων μουσικών οργάνων- θα προσεγγιστούν τα όρια ανάμεσα στην τροπικότητα και τον συγκερασμό, ανάμεσα στον αυτοσχεδιασμό και την αυστηρή απόδοση της φόρμας.
Παράλληλα, στόχος του εγχειρήματος είναι να ανιχνευθούν στοιχεία πρόσμιξης της ανατολικής μουσικής με λαϊκές παραδόσεις που τοποθετούνται χρονικά και χωροθετικά πλησιέστερα στον τόπο και την εποχή μας. Για τον λόγο αυτό, η Ορχήστρα Ανατολικής Μουσικής του ΚΕΜΦΑ θα επιχειρήσει μια διαδραστική συνύπαρξη με την πολυπολιτισμική χορωδία «Χορτωδία» πάνω σε ρεπερτόριο παραδοσιακής μουσικής του Πηλίου. Τα δίκτυα επικοινωνίας και οι μουσικές επιρροές της τροπικότητας της Ανατολικής Μεσογείου που αυτά επιφέρουν γίνονται με αυτό τον τρόπο αντιληπτά ως παρακαταθήκη σε μια διαρκώς, ωστόσο, ανανεούμενη μουσική παράδοση.
21.00, Concert, "Ottoman Ritual Soundscapes"
This concert explores the sonic universe of Ottoman rituals as spaces for intercommunal and cross-confessional contact and interaction. Although historiography has often represented early modern multi-confessional empires as paradigms of ‘harmonious coexistence’, in reality these constituted more complicated and diverse societies. In urban centres, everyday experience was a mix of religious toleration and tension, and inter-religious connection and rivalry. Hierarchies were structured on administrative privileges and restrictions, defining both the communities’ and individuals’ position, while at the same time allowing space for crossfaith exchange and familiarity.