"Here is our home": Music, space and ethnography inide the building of "kreatagora" at Piraeus

Graduate Thesis uoadl:3176510 109 Read counter

Unit:
Department of Music Studies
Library of the School of Philosophy
Deposit date:
2022-04-12
Year:
2022
Author:
Rompas Ioannis
Supervisors info:
Λαλιώτη Βασιλική, μ. Επίκουρη Καθηγήτρια, Τμήμα Μουσικών Σπουδών, Ε.Κ.Π.Α.
Παπαπαύλου Μαρία, Αναπληρώτρια Καθηγήτρια, Τμήμα Μουσικών Σπουδών, Ε.Κ.Π.Α.
Πουλάκης Νίκος, ΕΔΙΠ, Τμήμα Μουσικών Σπουδών, Ε.Κ.Π.Α.
Original Title:
«Εδώ είναι το σπίτι μας»: Μουσική, χώρος και εθνογραφία στο κτήριο της 'κρεαταγοράς' στον Πειραιά
Languages:
Greek
Translated title:
"Here is our home": Music, space and ethnography inide the building of "kreatagora" at Piraeus
Summary:
“Each musical movement, each music scene, in order to survive and spread must have their own center, their home”. These were the words of Frank (Panx Romana) in a concert of his band, that pushed me to explore this specific musical community housed in a building above the central market of Piraeus. The most common name given to that building by community members is “kreatagora” (meat market). My main goal is to study how the sociality cultivated inside that space contributes to the musical (and not only) expression of the members of the building. In what ways is this community formed? What kinds of emotions are produced in the live performances and what these emotions mean for the scene and the people who participate in it? In what ways are the relations of the musicians formed with their audience? How do my subjects perceive the space of the rooms, but also the whole building? Thus, in the first chapter I look for the theoretical and methodological starting points of popular music worldwide, I integrate my research in the context of performance theory and I look for the concepts of space as analyzed by the social sciences and humanities. In the second chapter I choose to focus on the various forms of performance I encountered in the building. I'm talking about the sociality I encountered there, the rooms I visited and I'm trying to explain why this concept is so important to people's musical expression. I'm still researching how "aragma” (plowing) and listening to music help build relationships between building members. Next, I describe the performance venues inside the building, the band rooms, and the emotions one can experience there whether one is a listener or a musician. Finally, I am referring to the liveness of the performances that takes place in the building and the tangible practices of the musicians inside them. In the third and final chapter, I look at the community my interlocutors talked about. I look at the characteristics that shape this community and I refer to the music scene that has been created there. Next, I talk about debt and exchange. Debt not necessarily financial, but often moral and exchange not only of material goods, but also of ideas, opinions and sounds. Inspired by David Graeber's theory of debt and exchange, I refer to the (moral) debt between members and the exchange (of ideas, equipment, material goods, etc.) as the basis for members' sociality within this community. Finally, I borrow Ruth Finnegan's "musical pathways" to emphasize how important it is for the subjects I spoke to maintain their space, the need for the rooms never to be empty and for the building not to be abandoned.
Main subject category:
Geography - Anthropology - Folklore
Keywords:
Popular Music, Performance Theory, Concepts of Space, Ethnography, Underground Culture, Musical Communities
Index:
No
Number of index pages:
0
Contains images:
Yes
Number of references:
94
Number of pages:
96
File:
File access is restricted only to the intranet of UoA.

Πτυχιακή-Εργασία-2022-Γιάννης-Ρόμπας Τελικό.pdf
2 MB
File access is restricted only to the intranet of UoA.