WORKSHOPS



WORKSHOPS

Christopher BAKA | “Percussion instruments: all of them or just one? The great dilemma regarding specialization among students of percussion instruments” (private lesson)

·         Objectives:
Ø  Presenting the philosophy of specialization in percussion instruments.
Ø  Improving familiarity with the music literature, the technique and the performance practice of the student’s preferred instrument.

·         Eligible to participate in the master classes are percussion students attending all music schools, from the following levels:
Ø  Beginner
Ø  Intermediate
Ø  Advanced

·         The content of the lessons will be adapted according to the participant’s level and personal preferences, on their instrument or instruments of choice.

Christopher BAKA | “Drumming and musicality” (private lesson)
·         Objectives:
Ø  Presenting musicality as the most important feature of musical individuality that a contemporary musician should possess.
Ø  Presenting the artistic approach to playing the drums.

·         Eligible for participation are percussion students attending all music schools as well as self-taught drummers.

·         Lessons will be based on the modern teaching method “Play Along”.

·         The content of the lessons will be adapted according to the participant’s level and personal preferences.

Christopher BAKA | “Music and theatre” (group lesson)
·         Objectives:
Ø  Helping participating musicians to form a new relation with music, by discovering sound-related interrelationships between music and theatre.
Ø  Developing musical imagination, creativeness and the ability to improvise freely.

·         Eligible for participation in the workshop are all Academy students, whether instrumentalists or vocalists. They will work in a group of up to 10 people. Should more people express interest in participating, more groups will be formed.

·         The workshop is based on an unconventional approach to music and musical instruments, which will lead to the discovery of new possibilities of musical creativity. The main tool for achieving the goals of this workshop is playing with sounds in the form of unconditional and unrestricted musical improvisation.

Workshop topics:
Ø  Exploration of sound-emitting possibilities by various musical instruments.
Ø  Musical image of feelings.
Ø  Musical description of a visual image.
The workshop will culminate in a performance of music & theatre.
·         Sessions will last three hours daily for 3 days. The general rehearsal and the performance will take place on the fourth day.

Christopher BAKA | “Symphonic Rock Orchestra” & “Swing Connection Band”
1.      SYMPHONIC ROCK ORCHESTRA

·         An orchestra that combines the sound of the classical symphony orchestra with the sound of a rock band, aiming to interpret popular works of classical music in a modern arrangement.

·         Eligible for participation are Academy students playing any instrument, except classical guitar and folk instruments.

·         Suggested programme:
Ø  Eine kleine Nachtmusik (Rondo) - Wolfgang Amadeus Mozart
Ø  Moonlight Sonata - Ludwig van Beethoven
Ø  Badinerie - Johann Sebastian Bach
Ø  Adagio in G minor - Tomaso Albinoni
Ø  William Tell Overture - Gioachino Rossini
Ø  Bolero - Maurice Ravel
Ø  Radetzky March - Johann Strauss

Pieces selected for presentation at the concert will depend on the level of preparation.
·         The pieces will be taught in a two-hour rehearsal daily for 4 days. The general rehearsal and concert shall take place on the 5th day.

Any students intending to participate in the orchestra should state it as early as possible, so that appropriate arrangements of pieces can be prepared. Orchestral parts and MP3 files for study will be available for download on the Academy website or can be emailed upon request.

2.      SWING CONNECTION BAND

·         A Jazz Big Band aiming to interpret well-known pieces from the 1950s and 1960s in classic swing style.

·         Eligible for participation Academy student playing any instrument except classical guitar and folk instruments.

·         Suggested programme:
Ø  Satin Doll - Billy Strayhorn & Johnny Mercer
Ø  Red Roses - Sid Tepper & Roy C. Bennett
Ø  In The Mood - Glenn Miller
Ø  Bandstand Boogie - Charles Albertine
Ø  Sh-Boom - James Keyes & Claude & Carl Feaster & Floyd F.
Ø  Penny Lane - John Lennon & Paul McCartney
Ø  I Want To Hold Your Hand - John Lennon & Paul McCartney
Ø  Got To Get You Into My Life - John Lennon & Paul McCartney
Ø  Bad, Bad Leroy Brown - Jim Croce
Ø  You Light Up My Life - Joseph Brooks

Pieces selected for presentation at the concert will depend on the level of preparation.
·         The pieces will be taught in a two-hour rehearsal daily for 4 days. The general rehearsal and concert shall take place on the 5th day.

Any students intending to participate in the orchestra should state it as early as possible, so that appropriate arrangements of pieces can be prepared. Orchestral parts and MP3 files for study will be available for download on the Academy website or can be emailed upon request.

Kostas CHARDAS | “Music Analysis and Music Interpretation”
How can we comprehend a work that we play or listen to as a narrative with notes? How can we convey to the listener the work’s architectural structure? How can the aesthetic ideas expressed in a musical work be “transferred” into our interpretation? Is it, ultimately, important to know what we are interpreting, so that we can determine our interpretational choices?
In this workshop we shall attempt to develop ways that might help us answer these questions. The introductory lecture will discuss and elaborate on the following issues:
·         The relation between musical interpretation and musical analysis
·         The relation between musical interpretation and aesthetic approach
·         The perception of a work’s form and how the individual sections of the form operate in creating the final “journey” offered by each work
·         The comprehension of the functions of various musical parameters (harmony, rhythm, texture, dynamics, etc.), with the aim of understanding the wholeness (or the fragmented structure) of a musical work
·         The comparison and deconstruction of diverse interpretations of particular works for the comprehension of diverse practical approaches to the same score

In the ensuing meetings-lessons we shall attempt to develop ways of comprehending music through the analysis of the music itself – that is, through analysis of the musical and aesthetic elements contained in the works presented by the participants.
Depending on the students’ desire, greater emphasis may be given either to the theoretical preparation for comprehending a work (music and aesthetic analysis) or to the practical aspect of performance (practical application of theoretical approaches).
This workshop is aimed at students of all instruments, at or above Intermediate Level.

Milen PANAYOTOV | “Heterophony: from Ancient Music Texture to Modern Composition Tool” (a five-day workshop for composers, musicologists, and everybody who is curious)
What is heterophony? Is it a texture, a technique – or both? Or is it rather something unknown? Since it is not typical for Western classical music, Western authors of music theory books have not paid it too much attention. We are told that heterophony only existed in the Medieval forms of liturgical chants and disappeared after the School of Notre Dame. It is given the status of unconscious polyphony, posing as a transition between monody (monophony) and real polyphony.
In fact, heterophony can be found even in Beethoven's music (Missa Solemnis). It reappears in the works of many 20th-century composers, who were looking for new styles other than Romanticism and Avant-Garde. Some of those, who were famous for their interest in non-Western musical traditions, are Stravinsky, Enescu, Messiaen, Ligeti, Zygmunt Krauze and Mark Kopytman – to mention but a few.
While one can easily find instruction in dodecaphonic, serial, aleatoric, microchromatic, sonoristic, minimal and many other compositional techniques, the principles of heterophony are widely neglected by the academic system. I, for example, had to go to Israel to learn them.
The workshop consists of three parts:
1)      Brief historical­-geographical overview of heterophony and its types
2)      Introduction to the main principles of heterophonic texture, including examples of contemporary compositions
1)      Heterophonic exercises – participants write short heterophonic pieces and eventually perform them, helping each other in the creation process. Therefore, participants are encouraged to bring their instruments.

Dimitris LEONTZAKOS | The orientation of the wind body: tongue and articulation on the clarinet”  |  “What does it mean to be alone today? Works for solo clarinet by Messiaen, Denisov, Boulez, Stockhausen, Carter, Berio, Donatoni and Sciarrino”

Maria Emma MELIGOPOULOU | Choral Conducting Workshop
The workshop is addressed to directors of children’s, youth and school choirs, or choral ensembles at conservatories, municipalities or other societies, as well as to conservatory or university students of choral conducting.
It offers a detailed presentation of the theoretical and music-pedagogical aspects of choral praxis, concerning the teaching methodology of choral conducting, and aims at an exploration of the practical aspect, pertaining to kinesiology, vocal preparation and singing.

The workshop is structured in two units:

A) Pedagogy – Choral Teaching:
·         Typical conducting skills
·         Conductor’s musical preparation
·         Chorister auditioning
·         Vocal physiology of children and youths
·         Repertoire selection
·         Rehearsal methodology
·         Musical interpretation issues (dynamics, articulation, style depending on work’s historical period)
·         Artistic Programming
·         Stage setting-positioning
·         Hall acoustics and stage presence issues

B) Conducting Technique (kinesiology) – Vocal warm-up – Singing
·         Conductor’s body posture
·         Basic forms of music conducting (2-part, 3-part, 4-part rhythms and their combinations)
·         Preliminary and final hand movement (opening – closing gesture)
·         Fermata (types and forms of use)
·         Dynamics (piano – forte – cresc – dim etc.)
·         Conducting styles (legato – staccato – marcato – espressivo etc.)
·         Physical and technical exercises prior to vocal warm-up
·         Types of vocal warm-up, depending on choristers’ age
·         Demonstration of teaching-singing vocal works

George PAPOUTSIS | “Methodology for the analysis of orchestration and analysis of orchestral works from the First Viennese School until the 20th century”
We will explore the framework for the analysis of orchestral works and also apply our insights to specific examples, which will cover all periods through which orchestration has been developed.
A basic principle for achieving our goal shall be the clear differentiation between combining instruments within the same family or from different families and the final choice of combining the already grouped instruments.
The fundamentals of instrumentation – i.e., dynamics, similarities or differences of tone-color, phraseology, instrumental registers, various orchestral seating positions, various playing techniques etc. – will be scrutinized as they evolve through particular works as well as through the orchestra’s historical development.
Thus, we shall develop an analytical methodology in parallel with any particular orchestration – characterized by a conscious aesthetic – aiming to understand and perceive the orchestrational technique and, through it, to clarify the form and content of each work.

George PAPOUTSIS | “20th-century Orchestration”
In sequence to the workshop on the methodology for the analysis of orchestration, dealing with orchestral works from the Classical and Romantic Periods, we shall add new elements concerning the special characteristics of 20th-century music. We will lay emphasis on the following topics: orchestration-form, sound organization (space, layers, groups), economy of sound, virtuosity, incorporation of electroacoustic means and influence of non-European musical elements.
We will approach the objects of orchestration, divided in five daily units, in order to give (in such a short time) some specific and necessary foundations for any further engagement of the student, either for personal research or as part of a certain program of studies.

Petros RISTAS | “Guitarists’ orchestral ensemble in partnership with other classical orchestral instruments”
We will form an orchestra of guitarists with the collaboration of other instruments (strings, winds, percussion etc). There will be two rehearsals daily for three days. On the fourth day there will be a final concert.
Eligible to participate in the orchestra are those guitarists who are active participants or auditors, as well as participants or auditors playing other instruments. The repertoire for the concert includes two parts: the first consists of works written in the Baroque, Classical and Romantic Periods. The second part includes contemporary works: Tango, Jazz, Rock, Fusion.
All guitarists must bring their own instrument, music stand, foot-rest and guitar tuner! Remaining instrumentalists must state in advance their intention to participate in the orchestra, so that necessary arrangements of the music can be prepared.
Parts will be available either through the Academy website or can be sent to the interested students via e-mail.

Theophilos SOTIRIADES | “Spiration – Respiration – Inspiration”
“Life begins with the first breath and ends with the last. However, it is the way we breathe in between that has a direct impact on the quality of out lives. This is the meaning of The Art of Breathing” – Nancy Zi

This workshop is aimed toward musicians, actors, public broadcasters and to everyone willing to improve the quality of their breathing and limit their daily stress.

Topics: through numerous practical exercises, sessions will deal with issues of body relaxation, correct posture, spiritual concentration, deep breathing, vertical pressure (expiration) and visualization.

You can bring along: workout clothes and personal exercise mats.

Konstantinos STOGIANNIDES | “Stylistic Harmony from the Renaissance to the Romantic Period”
Topics include the ‘Harmonic Instinct’ of  the Renaissance, the characteristics of Baroque harmony and voice leading, the Chorale, two- and three-part Counterpoint, the new features of the Classical Period, some comments on string quartet writing in the 18th century, the extension of the harmonic language in the Romantic Period.

The workshop aims at improving the aural perception that is essential to any serious musician, not only in harmony and counterpoint, but also in composition and in reading and learning scores away from the keyboard.

Paola ZANNONI | Jazz Strings Workshop”
The course proposes an initial approach to improvisation and jazz with the cello and other string instruments.
There will be an introduction to the use of chords and the more simple structures, such blues and certain aspects of modal jazz and to a different use of the instrument (walking bass, chords, etc.).
At the end of the course some arrangements of standards and blues for string ensemble will be performed

EARLY MUSIC DEPARTMENT | Gerasimos Coidan (harpsichord) – Antigoni Tsalla (transverse flute) – Anastasia Miliori (baroque violin)
The language of the Baroque. Why and how can knowledge of “early music” help us give better interpretations of all following music styles?
Fundamental principles of interpretation and understanding of the function of harmony and basso continuo will be taught, along with basic principles of improvisation.
Information on early instruments will be offered, along with a study of Italian Baroque works, which will be presented in a final concert featuring students together with professors.
Participation is open to all students. No prior knowledge or possession of an early instrument is required.

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