The Critical Μusic Histories study group was formed in January 2014 at the School of Music Studies, Aristotle University of Thessaloniki, by A.U.TH. postgraduate and undergraduate students as well as recent alumni, supervised by Danae Stefanou, Assistant Professor in Historical Musicology.

The group’s research interests span across several different subject matters, genres and historical eras, but our work is informed by three shared, clearly identifiable objectives:

  • To historically trace and map multiple, subjective and/or lesser known aspects of music, with a special interest in unexplored musical practices
  • Τo expose and problematise the ways and contexts through which dominant narratives on the History of Music are constructed and enforced
  • To maintain and systematically engage with essential questions of epistemology, such as: What constitutes a valid / reliable / noteworthy historical account? When? Where? Why? From whom, and for whom?

We thus aim to provide radical, and sometimes boldly revisionist perspectives on music, sound and noise, on high and low culture, on the role and representation of the musical body in society, on the significance of musical (auto)biography, on the value of oral, undocumented or socially “invisible” histories of music-as-practice, and on the relationship between art and everyday life in different cultural contexts.

At the same time, promoting a state-of-the-art model for collaborative research, the group responds creatively to a number of broader academic needs and challenges, such as:

  • Supporting, promoting and disseminating original student research across all academic stages, from undergraduate to post-doctoral level.
  • Encouraging collaborative and group initiatives between students of different levels and between students and staff, with a view to developing interdisciplinary, inter-university and international collaborations with researchers interested in cognate fields.
  • Making an effective, bottom-up contribution to the local musicological community, through the application and establishment of new and purpose-developed methodologies for current research.
  • Documenting, accounting for and highlighting the role of lesser known, contested or controversial musical practices, institutions and agents, on a local as well as international basis.