The application Musical Routes exhibits the primary ethnographic empirical material of IMS (Institute for Mediterranean Studies), which was collected through a field research in Crete during the years 1998 – 2006 in the frame of two research projects in the field of Ethnomusicology: THALETAS “The violin tradition in the Cretan traditional music” and CRINNO MUSIC II “The musical tradition of ‘lyra’ in the Cretan traditional music of the Rethymnon prefecture”. Through the field research and the participatory observation, primary empirical material was collected and ethnographic “texts” were created, constituting a material that was processed, digitalised and finally registered in electronic data bases. From these projects emerged among others109 long-hour programmed semi-structured interviews with amateur and professional musicians.
The ethnographic material of the 109 transcribed interviews which emerged from the two aforementioned projects, was classified by 1169 keywords and 280 thematic units. This classification resulted in 3,000 text passages and more than 37,000 relations between passages and keywords.
The visitor has access to all of the material in three ways: by “branching out search”, by simple / advanced search or by localities on the map of the island. Furthermore, via the related links to the sites of THALETAS and CRINNO MUSIC II, the visitor may retrieve: a) the poetic “texts” of 1182 sound-recorded songs (487), which are, indeed, presented in such a way that emphasis is given to the morphology of the melodies and the relationship between speech and melody, b) the video-recordings of the THALETAS project (560 video files), which are available in digital form.
The visitor of the site application may wander along thousands of musical/cultural 'routes' - concerning Crete - such as: past and present; violin and lyra (Cretan fiddle); nounoura and harmonium; drums and daoulaki; festivity and 'company', performance and its various manifastations; mutuality and inter-textual relations, which develop between: a) the ethnographer and the occasional pragmatological material, b) the different “presents” of the ethnomusicologist and his ethnographic 'texts', c) the various “discourses” of the bearers of contemporary Cretan musical tradition, based on the potential multiple interpretations of the aforementioned ethnographic material.