HISTORIC AND SYSTEMATIC MUSICOLOGY

1. Introduction to historic and systematic musicology2. Concise history of European music I3. Concise history of European music II4. Theory and practice of tonal music I & II5. Theory and practice of renaissance music I & II6. Musical form in European music I & II7. Introduction to ancient Hellenic music: The music civilizations in the area of

Hellas in the Stone, Copper and Early Iron Ages8. History of modern Greek art music

9. Gregorian chant10. Palaeography of music11. History of orchestration12. Harmonic theory of ancient Hellenic music13. Twentieth century music14. Specific music history topics: Ars Antiqua and Ars Nova15. Specific music history topics: The concerto and its evolution16. Music analysis and compositional techniques in the twentieth century17. Music analysis I: Basic principles of composition in the classic-romantic era18. Aesthetics and philosophy of music19. History of European musical instruments20. Choral conducting I21. Choral conducting II22. Acoustic skills training23. Music analysis II: Approaches to music work

24. Music composition25. Music and its notation26. Greek composers of Renaissance27. Introduction to Greek and Latin palaeography28. Music palaeography: Old Byzantine notations29. Orchestration II30. The symphony orchestra since 195031. Elements for conducting32. Methods of musical hermeneutics33. Theory and praxis of the pre-classical sonata (1730-1780)34. Rhythmic theory of ancient Hellenic music35. Notation of ancient Hellenic music: The Alypian notation

36. Seminar: Musical periodicals in past and present37. Seminar: Music in 19th century thought38. Seminar: Franz Schubert’s piano sonatas

1. Introduction to historic and systematic musicology (Markos Tsetsos & George Zervos)

The course examines a series of issues of primary importance to musicology, such as: The object and the branches of musicology; the forms and the genres of music; the concept of musical style; problems of periodization and method in musical historiography; tonality and tonal systems (modality, functional tonality, atonality); the aesthetic and social dimension of music, musical analysis and composition; musical analysis and value judgment.

2. Concise history of European music I (Irmgard Lerch-Kalavrytinos & Pyr-ros Bamichas)

The first surviving documents with musical notation in Western Europe are from the eighth century. The main lines of development of music from this time to about 1750 will be presented. We will deal with the monophonic music of the Church and of the aristocracy in the Middle Ages, and we will observe the unfolding of polyphony dur-ing the Middle Ages, the Renaissance and Baroque eras, from the relatively simple improvised early organum to its flourishing in the hands of Palestrina and his contem-poraries and until the time of Bach.

3. Concise history of European music II (Nikolaos Maliaras)

This is an essential course concerning students of all directions in their first two semesters of their studies. The course aims to giving students a very comprehensive survey of the entire History of European Art Music from the Middle Ages through the 20th century. Our purpose is that all students acquire the basis of Music History. Students who follow the direction of Historic-Systematic Musicology can elaborate and develop their knowledge in the course of more specialized lectures later in their studies. Despite the density of the material offered, this course often serves as a good reference point for students in later semesters as well.The emphasis is given upon social and cultural circumstances within which the development of musical history has taken place. Subjects such as the development of musical forms and genres, of composition techniques and of musical style as well as the social position of composers within their social environment are also discussed. A great deal of musical examples for each period is presented, commented upon and briefly analyzed, in order for musical form and structure in their historical development to be understood.

4. Theory and practice of tonal music I & II (George Fitsioris)

The aim of this two-semester course is to lead freshmen to develop a scientifically and historically founded perspective that will allow them to understand and experience the most important melodic, harmonic and rhythmic tonal procedures through the exami-nation of representative works from the baroque, the classical, and the romantic pe-riod. After developing the concepts of consonance and dissonance, of tonicization, and of harmonic functions, the course places special emphasis on the study and classi-

fication of the tonal cadential processes. Further to, the course develops: the concept of musical phrase, the implementation of reductive methods for the understanding of melodic fragments or of whole musical passages, the examination and classification of the most usual methods of chord-prolongation, the concepts of structural rhythm and of musical direction toward a specific goal and, finally, the investigation of the centrifugal tendencies that characterize the tonal idioms in the second half of the nine-teenth century.

5. Theory and practice of renaissance music I & II (George Fitsioris)

In this two-semester course students are introduced to the contrapuntal ‒and, at times, homophonic‒ style of the great masters of the so-called “golden age of polyphony”, namely Palestrina, Orlando di Lasso, de Victoria, etc. The usual educational method of the Fuxian “species counterpoint” is not followed; instead, the students learn the fundamental principles of contrapunctus simplex (beginning with theoretical view-points of the 14th century), and the gradual transformation of such a basic structure to several versions of contrapunctus diminutus, through melodic embellishments. The students are asked to compose “free” 2-voice canonic passages in the way of Can-tiones Duarum Vocum by Lasso, but also 3-voice or 4-voice passages against a given Cantus Firmus. In addition, the students are taught the fundamental principles of the contemporary theory (Tinctoris, Aaron, Glareanus, and mainly Zarlino) and, after be-coming familiar with the several and divergent viewpoints about the modes, the con-cept of “tonal types”, the concepts of simultaneous and successive composition, as well as the differences between intervallic and chordal compositional practices, they analyze representative works of that period.

6. Musical form in European music I & II (George Zervos)

The main focus of the course is the study of the most important musical forms of the European art music of the Baroque, Classical and Romantic eras, that is between 1700 and 1900. Emphasis is placed on sonata forms, fugue, ternary form (ABA) and its de-rivatives, as well as on minuet, rondo and sonata-rondo. Since form is so closely re-lated to harmony, melody and rhythm, our analyses of certain compositions will also refer to these parameters, and mainly harmony. Our aim is to showcase the functional, rather the static, aspects of musical form.

7. Introduction to ancient Hellenic music: The music civilizations in the area of Hellas in the Stone, Copper and Early Iron Ages (Stelios Psaroudakēs)

Neolithic sites in modern Hellas have yielded bone pipes (flutes). In the Bronze Age civilizations of Kyklades (Cycladic), Krētē (Minoan), the mainland (Helladic) and Kypros (Cypriote) the evidence points to a rich music life. The extant relevant evid-ence from the Iron Age (Geometric period) is even richer.Bibliography: 1) Lecturer’s notes. 2) Aign, Bernhard (1963) Die Geschichte der Musikinstrumente des ägäischen Raumes bis um 700 vor Christus. Frankfurt am Main. 3) Van Schaik, Martin (1998) The marble harp players from the Cyclades. Utrecht: Dutch Study Group on Music Archaeology. 4) Younger, John G. (1998)

Music in the Aegean Bronze Age. Jonsered: Paul Åströms.

8. History of modern Greek art music (Nikolaos Maliaras & George Zervos)

This course investigates the special features of Modern Greek musical civilization in comparison an in relation to its models, i.e. the European musical civilization. The first Greek composers (Franghiskos Leondaritis) make an isolated appearance in the 16th century. But in the 19th century we have the Heptanesian School, represented by many important composers. The Greek National School of Music appears in the beginning of the 20th century and lasts until approximately 1960. The review of Modern Greek Music History goes on with the investigation of modern streams of the European avant-garde after the end of World War II, within which most Greek composers found their place. The creational tendencies of the last two or three decades are also taken into account. Special stress is put upon researching the sources which contain information on Modern Greek Art Music, as well as on combining the developments in Greek Art Music with the political and cultural history of the Greece, including social circumstances and art tendencies that played an influential role.

9. Gregorian chant (Ioannis Papathanasiou)

The history of music tradition from the first Christian centuries to our day. The first forms of christian chant, psalms and hymns. Local repertories: Old Roman chant, Ambrosian chant, Gallican chant, Beneventan chant, Mozarabic chant, Byzantine chant etc.. The formation of the Gregorian chant and its relationship with the local music traditions. The music theory of cantus planus. The liturgical year, the liturgical books and the chant these contain. The theoreticians of the Middle Ages, and the in-formation we draw from the theoretical treatises of the period, concerning the perfor-mance of Gregorian chant. Birth and development of the neumatic notation, families of neumes, examination of the main music manuscripts. Transcriptions from medieval manuscripts. Music examples.Bibliography: Ι. ΠΑΠΑΘΑΝΑΣΙΟΥ, Εγχειρίδιο Μουσικής Παλαιογραφίας, Πρώτη ενότητα, Δυτικές Νευματικές Σημειογραφίες, Εκδόσεις Διογένης Αθήνα 2002, Κ. ΦΛΩΡΟΣ, Η Ελληνική παράδοση στις μουσικές γραφές του μεσαίωνα. Εισαγωγή στη Νευματική Επιστήμη, (μετάφραση, Κ. Κακαβελάκης), Θεσσαλονίκη 1998, D. HILEY, Western Plainchant. A Handbook, Oxford 1995, F. RAMP I- M. LATANZI, Manuale di Canto Gregoriano, Milano 1991, K. LEVY, Gregorian Chant and the Carolin-gians, Princeton 1998, A. TURCO, Il Canto Gregoriano, vol. I Corso fondamentale, vol. II Toni e modi, Roma 1991, W. APEL, Gregorian Chant, Bloomington 1958, Paléographie Musicale, Les principaux manuscrits de chant grégorien, ambrosien, mozarabe, gaIIican publies en fac-similés phototypiques ραr les Bénédictins de Solesmes, Solesmes 1889, E. WELLESZ, Eastern Elements in Western Chant, Copen-hagen Oxford 1947, Copenhagen 1967, M. GERBERT, Scriptores ecclesiastici de musica sacra potissimum, 3 τόμοι., St. Blasien 1784 (Hildesheim 1963), E. COUSSE-MAKER, Scriptorum de musica medii aevi nova series, 4 τόμοι, Paris 1876 (Hildesheim 1963).

10. Palaeography of music (Ioannis Papathanasiou)

The development of music notation from the Middle Ages to the Renaissance. Byz-antine and Western neumatic notation up to the 14th century. The primitive notation of the first polyphonic compositions. The black square notation: Ars antiqua and Ars Nova. The white mensural notation of the Renaissance. The notation system of instru-mental music in the Renaissance. Music and typography. Transcriptions from Medi-eval and Renaissance manuscripts. Music examples.Bibliography: W. APEL, The Notation of Polyphonic Music 900-1600, Cambridge Mass. 1942 (rev. 5th ed. 1961), Ι. Παπαθανασίου, Εγχειρίδιο Μουσικής Παλαιογραφίας, Δεύτερη Ενότητα, Δυτικές Σημειογραφίες Μονοφωνικής και Πολυφωνικής Μουσικής, Μεσαίωνας-Αναγέννηση, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών, Τμήμα Μουσικών Σπουδών, Αθήνα 2002, Κ. ΦΛΩΡΟΣ, Η Ελληνική παράδοση στις μουσικές γραφές του μεσαίωνα. Εισαγωγή στη Νευματική Επιστήμη, (μετάφραση, Κ. Κακαβελάκης), Θεσσαλονίκη 1998, F. RAMPI - M. LATANZI, Manuale di Canto Gregoriano, Milano 1991, D. HILEY, Western Plain-chant. A Handbook, Oxford 1995, J. WOLF, Handbuch der Notationskunde, Leipzig 1919, C. Parrisch, The Notation of Medieval Music, New York 1978, Ι. Παπαθανασίου - Ν. Μπούκας, Η Βυζαντινή μουσική σημειογραφία και η χρήση της έως το 10ο αιώνα. Προφορική και γραπτή παράδοση του πρώιμου βυζαντινού μέλους, στο Μουσικολογία, 17 (2003), σσ. 184-197.

11. History of orchestration (Markos Tsetsos)

The objective of this course is the evolution of orchestration, in reference to criteria such as: the distribution of the elements of musical texture to the different orchestral groups; the relations of these groups among themselves; technical development of the instruments and the development of orchestration; the solo use of musical instruments etc. Further, the course examines the development of orchestral practices such as divisi and non divisi chords, natural and artificial harmonics, pizzicati, etc in the strings; breath and tongue in the winds; problems of timbre-blending and balance between the orchestral groups; the development of the orchestral use of the percussion, of the plucked instruments and of instruments such as piano and organ. All these issues are examined upon analyses of symphonic scores by Mozart, Haydn, Beethoven, Schubert, Mendelssohn, Schumann, Wagner, Liszt, Bruckner, Tchaikovsky, Mahler, R. Strauss, Stravinsky etc.

12. Harmonic theory of ancient Hellenic music (Stelios Psaroudakēs)

Harmonics is the science of the tonal (as opposed to the rhythmic) aspect of melody, according to the ancient Hellene music theorists. It deals with the parts which com-prise melody and their interrelationship. The purpose is to discover the nature of melody, and the description of its form in appropriate terms. Melopoiia is the use of the parts of harmonics during composition, in order for the desired character (ēthos) to be established. Bibliography: 1) Lecturer’s notes. 2) West, M. L. (1992) Ancient Greek music. Ox-ford: Clarendon Press. 3) Barker, Andrew (1989) Greek musical writings. II. Har-monic and acoustic theory. Cambridge et al: Cambridge University Press. 4) Math-

iesen, Thomas (1999) Apollo’s lyre. Greek music and music theory in Antiquity and the Middle Ages. Lincoln & London: University of Nebraska Press.

13. Twentieth century music (George Zervos)

The course aims at presenting the main movements of the early twentieth century mu-sic, such as late Romanticism, Expressionism, Impressionism, Futurism and Neoclas-sicism. Because this century is characterized by the radical challenge of all manifesta-tions of art, we will also highlight the close relationship between music and the other arts, such as painting and poetry. Special emphasis will be placed on the art move-ments of impressionism and expressionism, since they are closely related to painting.The course includes listening to numerous musical examples by composers such as: Mahler, Bartόk, Debussy, Ravel, Schönberg, Berg, Webern, Stravinsky, Prokofiev, Satie and Les Six.

14. Specific music history topics: Ars Antiqua and Ars Nova (Irmgard Lerch-Kalavrytinos)

We will deal with the music of the 13th and 14th centuries, mainly in France, but else-where, too. Within this time interval, musical style underlies crucial changes. We will observe the development of central musical genres (motet, mass, polyphonic song etc.), in combination with the presentation of the most relevant musical manuscripts and theoretical treatises of the time. Special bibliography will be given during the courses. As a basis will serve the classical book by Richard Hoppin, Medieval Music, New York, London: Norton, 1978, chapters X and XIV-XX.

15. Specific music history topics: The concerto and its evolution (Ioannis Fulias)

This course is devoted to an examination of the history of a selected music genre: the genre of the instrumental concerto, which is created in the late 17th century in Italy and evolves in many different ways during the late Baroque period, the classic era, the romantic era as well as under the various compositional styles that were cultivated during the first half of the 20th century throughout Europe. Through the presentation of a rich repertoire, these composers emerge, who decisively contributed to the formation and the consolidation of the specific characteristics of each concerto type (e.g. of the concerto grosso, the solo concerto, the symphonie concertante, etc.) as well as of those special music forms that were cultivated in the same context (such as the ritornello form or the sonata-concerto form), while at the same time it is realised how the genre of the concerto in general is adapted in any local and temporal preferences of music style, in the performance capabilities of any kind of music instrument, and also in the most diverse demands of the music performers themselves and of the audience.

16. Music analysis and compositional techniques in the twentieth century (George Zervos)

The present course is in a sense the continuation of the course “Twentieth century mu-sic” and aims at familiarizing students with the forms of the musical works composed during the first half of the 20th century. Besides harmony, rhythm, timbre and orches-tration, what was radically challenged in twentieth century music was form. The clas-sical forms (sonata, rondo, lied etc.) were to a great extent replaced by new composi-tional techniques, such as the developing variation, the strophic variation etc., which are present in the works of Schönberg, Debussy, Skalkottas and others. This renewal of forms will emerge through the study and analysis of works by the aforementioned composers.

17. Music analysis I: Basic principles of composition in the classic-romantic era (Ioannis Fulias)

This course has a rather practical orientation and aims to demonstrate through selected music examples how the common harmonic functions are combined with the pro-cesses of repetition, variation, development and contrast, which can be applied on the motivic-thematic material for the construction of individual music phrases and larger structural entities. More specifically, with the assistance of extracts from piano works by Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert, the allocation of the four essential harmonic functions in a complete phrase is examined and various methods of harmonic expansion, tonicization and modula-tion, ways of implementation of the three types of cadence (the perfect authentic, the imperfect authentic, and the half cadence), as well as the real functional role of the other – supposed – cadences (the deceptive and the plagal ones) are studied. More-over, at a structural level, not only normative but also deviant cases of sentence and period, as well as a variety of binary and ternary structures (which sometimes even in-clude “hybrid” structural patterns) are investigated.

18. Aesthetics and philosophy of music (Markos Tsetsos)

Music has being a privileged object of philosophical thought since antiquity. In modern times its study is associated both with the concept and the practices of the musical work of art and the idea of the autonomy of art. Taking these notions as its starting point, the course examines a series of topics central to the aesthetics of music, arranged historically though systematically inquired. Some of these topics are: music and the higher cognitive faculties of imagination, understanding and reason (Kant); music as the art of internality (Innerlichkeit) and in its difference from the other arts (Hegel); music as the immediate objectification of the metaphysical root of the world (Schopenhauer); music, the expression of emotions and its formalistic definition as “form moving in sound” (Hanslick); music as an object of phenomenology and the ontology of the musical work (Ingarden); human musicality and philosophical anthropology (Plessner); music as a peculiar symbolic system (Langer); music as sounding dialectic and as a critical embodiment of the social (Adorno).

19. History of European musical instruments (Nikolaos Maliaras)

Musical Instruments are taken into account mainly through and within their historical framework and then according to their place in today’s musical reality. Musical instruments of the so called European music civilization that appear in the Symphony Orchestra come to the epicenter of the investigation. Other instruments that are today obsolete, but used to play an important role in older times are also part of the account, as well as instruments that are still used in traditional cultures, which are in most cases the ancestors to the modern musical instruments. This fact draws a line of connection with the course on traditional musical instruments. During the course, the students can listen to many musical examples featuring the sound of instruments as well as observe many pictures showing instruments in the various stages of their development.The structure of the course is as follows. A word is stated at the beginning, concerning acoustics and sound production and function. Then the history, age and dissemination of musical instruments are discussed, after which the classification of musical instruments comes to the foreground. Then, a brief word is said on the history of European instrumental music. After that, the investigation of genres, families and instrumental species begins. The starting point is the genre of the lute, followed by the genre of the harps and psalteries, the bowed and the keyboard instruments. The wind instruments are presented starting with the flutes, oboes and clarinets, followed by bugles, trumpets, cornets, horns and valve instruments. The membranophones and idiophones are briefly discussed at the end.

20. Choral conducting I (Pavlos Sergiou)

Elementary method of choral conducting, History of choral repertoire, singing and conducting of short choral pieces from the Middle Ages to the present day, arranging for three voices children choir, introduction to the art of singing, choir rehearsal: tech-nique, training, warming up etc.

21. Choral conducting II (Pavlos Sergiou)

Elementary method of choral conducting, History of choral repertoire, singing and conducting of short choral pieces from the Middle Ages to the present day, arranging for three voices children choir, introduction to the art of singing, choir rehearsal: tech-nique, training, warming up etc.

22. Acoustic skills training (Ioannis Fulias)

Aim of this practical course is the cultivation of the acoustic skills of the students, so that they are able firstly to recognize individual intervals and chords, but primarily broader harmonic progressions and cadential formulas, and secondly to write down easily and correctly one or two parallel melodic lines in staff notation. Particular emphasis is also given to the capability of the perception of melodic and harmonic modules in relation to their functional role in broader tonal contexts.

23. Music analysis II: Approaches to music work (Nikolaos Maliaras)

This lecture is based on the approach, that musical analysis is not just a course, but a whole branch of historical and systematical Musicology, indeed one of the most important ones. Our intention is, that students acquire more than mere acquaintance with various systems and techniques of Analysis that have been at times suggested or followed. They should rather become able to experience an analytical approach to any musical work by themselves. For the above mentioned reason, this lecture falls mainly in two parts.1. A historical part, where the most important analytical methods are briefly presented and discussed upon. This historical perspective begins around 1600 and reaches the end of the 20th century. In this part, the musical environment and musical understand-ing and musical aesthetics of each period are also discussed. 2. In the second part, students can gain practical advice for applied analysis and try to solve the problem of approaching a musical work.The appliance of analytical methods and techniques is made upon selected examples in the classroom.

24. Music composition (George Zervos)

The course addresses (a) students who are interested in composing and therefore wish to be introduced to compositional techniques and (b) students who are interested in theoretically studying compositional techniques and the basic elements that compose a musical work, the assessment criteria of a composition, the nature of a work of art etc.This is mainly a team course, since students are expected to comment both on their colleagues’ compositions and on well, or lesser, known works of the eighteenth, nine-teenth and twentieth century.

25. Music and its notation (Irmgard Lerch-Kalavrytinos)

In this course, the developments in the notation of Western music from its beginnings up to the 20th century will be studied. Special emphasis is given to mutual influence between music and notation and to notational ‘intermediate’ states, that is, the situa-tion between the fully developed main types of notation.

26. Greek composers of Renaissance (Pyrros Bamichas)

The focal point is the works of Francesco Londariti, the most important Greek repre-sentative of the cinquecento with quite an extensive number of composed works. Apart from Londariti’s works, the course examines also the works of other Greek composers, scattered to various music sources. A special reference will be made to the prevalent conditions at the ducal chapels of the Serenissima and Munich (the last one under the direction of ‘divine Orlande’), and the social status of the Greek minority in Venice. Emphasis will be also given to greghesce which form an evidence of the vari-ous influences of the Greeks to the city. Written in an artificial Greco-Italian dialect, these samples of literature were set to music by famous composers of the period such as Gabrieli, Merulo, Rore, and others. It should be noted, that the content of the

course will be continuously enriched by the results of the up to date research.

27. Introduction to Greek and Latin palaeography (Ioannis Papathanasiou)

The Hellenic book script: The capital script from the fourth to the ninth centuries. The transition from the capital to the minuscule script. The minuscule script from the ninth to the fifteenth centuries. Analytical study of the hand-written book (manuscript). General historical survey of the Latin script. Reading Hellenic and Latin manuscripts (exercises).Bibliography: H. HUNGER, Ο κόσμος του βυζαντινού βιβλίου, Αθήνα 1995, P. CA-NART, Lezioni di Paleografia e di codicologia grecα, Città di Vaticano 1990, M. L. AGATI, Il libro manoscritto. Introduzione alla codicologia, (Studia Archeologica 124), Roma 2003, E. MIONI, Εισαγωγή στην Ελληνική Παλαιογραφία … με συμπληρώσεις του συγγραφέα και του μεταφραστή Ν. Μ. Παναγιωτάκη, Αθήνα 1977, G. PRATO, Studi di Paleografia Greca, Spoleto 1994, Λ. ΠΟΛΙΤΗ, Οδηγός καταλόγου χειρογράφων, Αθήνα 1961, H. FOLLIERI, Codices Graeci Bibliothecae Vaticanae temporum locorumque ordine digesti commentariis et transcriptionibus in-structi (Exempla scripturarum edita consilio et opera procuratorum Bibliothecae et Tabularii Vaticani 4), apud Bibliothecam Vaticanam 1969, L. D. REYNOLDS - N. G. WILSON, Αντιγραφείς και φιλόλογοι. Το ιστορικό της παράδοσης των κλασσικών κειμένων, Αθήνα 1981. A. Petrucci, Breve storia della scrittura latina, Roma 1989, L. Boyle, Medieval Latin Palaeography. A Bibliographical Introduction, Toronto 1984.

28. Music palaeography: Old Byzantine notations (Ioannis Papathanasiou)

Birth and development of the notation in Byzantium. Ekphonetic notation, local nota-tions, palaeobyzantine notations, middlebyzantine (round) notation. Transcriptions from byzantine manuscripts with middlebyzantine notation. Music examples.Bibliography: Κ. ΦΛΩΡΟΣ, Η Ελληνική παράδοση στις μουσικές γραφές του μεσαίωνα. Εισαγωγή στη Νευματική Επιστήμη, (μετάφραση Κ. Κακαβελάκης), Εκδόσεις Ζήτη, Θεσσαλονίκη 1998, Chr. Troelsgaard, Byzantine Neumes. A new in-troduction to the Middle Byzantine Muiscal Notation, Museum Tusculanum Press, 2011, Museum Tusculanum Press, Copenhagen 2011, Ι. Παπαθανασίου, Λειτουργικά περγαμηνά σπαράγματα από το ιδιωτικό αρχείο του Δημητρίου Χρ. Καπαδόχου , πρακτικά του Διεθνούς Συνεδρίου «Οι δύο όψεις της Ελληνικής μουσικής κληρονομιάς. Αφιέρωμα εις μνήμην Σπυρίδωνος Περιστέρη», Αθήνα 10-11 Νοεμβρίου (Δημοσιεύματα του Κέντρου Ερεύνης της Ελληνικής Λαογραφίας της Ακαδημίας Αθηνών, αρ. 18), Αθήνα 2003, σσ. 81-102, I. Papathanasiou - N. Bouκas, Early Di-astematic Notation in Greek Christian Hymnographic Texts of Coptic Origin. A Re-consideration of the Source Material, στο Palaeobyzantine Notations III (Acts of a Congress held at the Hernen Castle in March 2001, ed. by Gerda Wolfram, (Eastern Christian Studies, 4), Leuven 2004, pp. 1-25, Ι. Παπαθανασίου - Ν. Μπούκας, Η Βυζαντινή μουσική σημειογραφία και η χρήση της έως το 10ο αιώνα. Προφορική και γραπτή παράδοση του πρώιμου βυζαντινού μέλους, στο Μουσικολογία, 17 (2003), σσ. 184-197.

29. Orchestration II (Pavlos Sergiou)

The Symphony Orchestra from 1880 to the present day, Evolution and Changes of Or-chestration in this period – relationships between harmonic/melodic idioms and Or-chestration, Orchestration Exercises for Woodwinds plus Horn.

30. The symphony orchestra since 1950 (Pavlos Sergiou)

Listening of typical excerpts from the symphonic literature since 1950, Description of the different idioms, Conscious Listening to the Symphonic Music of this Period, the Great Composers in this Period.

31. Elements for conducting (Pavlos Sergiou)

Introduction to the History of Conducting, Conductor’s basic kinesiology, Conducting of short excerpts from the last Haydn and Mozart Symphonies also from the two first Beethoven Symphonies.

32. Methods of musical hermeneutics (George Fitsioris)

The aim of this course is to bring students in acquaintance with some of the most important and most recent hermeneutical methods, implemented world-wide. As a result, the students will acquire the ability and discernment that are needed in order to approach a musical work, to examine its technical features, to interpret them, realizing the ideology and the sociological and cultural values that the organization of those features produces, reproduces, and conveys, as well as to learn how to talk about their experience of listening to these works. Central to this course are the narratological methods of interpretation. During the semester the students will be introduced to interpretations of musical works that are based on the findings of a comparative study of music and narrative, both on the level of form, structural rhythm, and the organizational strategies used by the two mediums, and on the level of their reception from perceivers.Students will be introduced to viewpoints of musicologists, such as L. Kramer, S. McClary, A. Newcomb, F. E. Maus, and of theorists of narrative, such as T. Todorov, R. Barthes, P. Ricoeur. Emphasis will be also given to phenomenological methods of interpretation (C. Thomas, L. Ferrara, D. Lewin, Gottfried Weber), as well as to semi-ological approaches (J. J. Nattiez, L. Ratner, K. Agawu, J. Levy). Among the works that will be examined, analyzed and discussed are the following: Mozart, piano con-certo Κ. 453, Andante, Mozart, piano sonata K. 280, Adagio, Beethoven, piano sonata Op. 14, No 1, Rondo, Beethoven, Appassionata, first movement, Beethoven, string quartet Op. 59, No 3, first movement, Beethoven, piano concerto No 4, Andante con moto, Schubert, piano sonata D 960, first movement, Chopin, Prelude Op. 28, No 4, Chopin, Nocturne, Op. 48, No 2, Liszt, piano sonata in B minor, Schönberg, The Book of the Hanging Gardens, No 7.

33. Theory and praxis of the pre-classical sonata (1730-1780) (Ioannis Fulias)

The repertoire of the pre-classical period (defined broadly between 1730 and 1780) presents several structural peculiarities compared to the one of the classical period, which are treated more easily with the assistance of an – even elementary – knowl-edge of the music theory of that era. Therefore, the two main sonata types of the mid-18th century, namely the binary and the ternary ones, are examined in this course through representative works by Domenico Scarlatti, Carl Philipp Emanuel Bach, Joseph Haydn, Johann Christian Bach and Wolfgang Amadeus Mozart, whilst the fac-tual analytical data extracted from each piece are directly compared to the related the-oretical findings and recommendations of Johann Adolph Scheibe, Joseph Riepel, Georg Joseph Vogler, Heinrich Christoph Koch, Francesco Galeazzi and Johann Friedrich Daube. It should be noted, however, that the interrelations between compo-sitional praxis and music theory of the 18th century are not aimed at a “historicist” an-alytical approach, but in a modern, “historically informed” and comprehensive view-point of a rather ignored – but also of special interest – music repertoire.

34. Rhythmic theory of ancient Hellenic music (Stelios Psaroudakēs)

Rhythmics is the science of the rhythmic (as opposed to the tonal) aspect of melody, according to the ancient Hellene music theorists. It deals with the parts which com-prise rhythm and their interrelationship. The purpose is to discover the nature of musi-cal rhythm, and describe its form in appropriate terms. Rhythmopoiia is the use of the parts of rhythmics during composition, in order for the desired character (ethos) to be established.Bibliography: 1) Lecturer’s notes 2) West, M. L. (1992) Ancient Greek music. Oxford: Clarendon Press. 3) Pearson, Lionel (ed.) (1990) Aristoxenus Elementa rhythmica. The fragment of Book II and the additional evidence for Aristoxenean rhythmic theory. Texts edited with introduction, translation, and commentary. Oxford: Clarendon Press.

35. Notation of ancient Hellenic music: The Alypian notation (Stelios Psaroudakēs)

The ancient Hellenes used more than one music notation systems since the 4 th c. BC (or even the 5th). One of them, the so-called ‘Alypian’, was finally established in notating melodies. The surviving sixty or so ‘scores’ are written in this system. The code survived in Alypios’ treatise, and this allows us to transcribe the musical texts into modern notation. Bibliography: 1) Lecturer’s notes. 2) West, M. L. (1992) Ancient Greek music. Oxford: Clarendon Press. 3) Pöhlmann, Egert & West, M. L. (2001) Documents of ancient Greek music. Oxford: Clarendon Press.

36. Seminar: Musical periodicals in past and present (Irmgard Lerch-Kalavry-tinos)

After a short introduction into the history of musical periodicals in general, mainly Greek musical periodicals will be dealt with as sources for music history in Greece.

We will continue the indexing of Greek musical periodicals for a database started some years ago by the Music Library Lilian Voudouri that will be continued in collab-oration with our Department. Possibilities for practical work are indexing some issues of a periodical and the presentation of the experiences of the indexer in the process, or the examination of already indexed periodicals as for special questions, as, for in-stance, various types of concerts, opera, performance of works by certain composers, which took place in Greece within a defined time interval.

37. Seminar: Music in 19th century thought (Markos Tsetsos)

The 19th century has being proved to be a landmark in the history of western art music, since it was then that our modern conception of music and of its role in the society was formed. In the seminar will be presented and discussed by both tutor and students important texts written by prominent representatives of the 19th century music, musicology and philosophy, concerning the concept, the meaning and the value of music.

38. Seminar: Franz Schubert’s piano sonatas (Ioannis Fulias)

This seminar is addressed to students who are interested in music theory and analysis on the early romantic repertoire. More specifically, subject of the seminar will be movements from piano sonatas that Schubert wrote from 1815 until his death (1828), in relation also to theories on music form from 19th century up to now.