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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