Summer Seminars 2015

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SUMMER SEMINARS 2015 13-18/7/2015 EFREN LOPEZ – Sound Engineering (Open Seminar) CHRISTOS BARBAS- Music Group: The Instrument as a Voice (Open Seminar) 20-25/7/2015 DAUD KHAN SADOZAI- Afghan Rabab (Open Seminar) GEORGE PAPAIOANNOU- Violin 2nd Part (Open Seminar) EFREN LOPEZ- Music Group (Open Seminar) 27/7-1/8/2015 AHMET ERDOGDULAR- Classical Ottoman Singing (Open Seminar) HOOSHANG FARAHANI –Iranian Tar & Radif (Open Seminar) GEORGE MAVROMANOLAKIS – Oud For Less Advanced Students (Open Seminar) OMER ERDOGDULAR- Ney- (Open Seminar) ADEL SΕLAMEH- Arabic Oud (Open Seminar) 3-8/8/2015 TIGRAN ALEKSANYAN- Armenian Duduκ (Open Seminar) DERYA TURKAN- Kemençe (Open Seminar) YURDAL TOKCAN- Turkish Oud (Master Class) GOKSEL BAKTAGIR- Kanun (Open Seminar) ELEONORE BILLY- Nyckelharpa (Open Seminar) PATRIZIA BOVI / PEPPE FRANA- Medieval music (Open seminar) 10-15/8/2015 EVGENIOS VOULGARIS- Yayli Tanbur & Makam (Open Seminar) MURAT AYDEMIR- Tanbur Through The Ages (Open Seminar) ZOHAR FRESCO- Frame Drums (Master Class) KOUROSH GHAZVINEH- Kurd Makam with Tanbur (Open Seminar) ARSLAN HAZRETI- Kamancha in Azeri & Persian Music (Open Seminar) 17-22/8/2015 HARRIS LABRAKIS- Rhythmic improvisation (Open Seminar) PERIKLIS PAPAPETROPOULOS –CIHAN TURKOGLU- Saz (Open Seminar) IDO SEGAL- Improvisation in north Indian classical music (Open Seminar) IVAN VARIMEZOV- Balkan rhythms and repertoire (Open Seminar) TZVETANKA VARIMEZOVA- Bulgarian singing (Open Seminar) 24-29/8/2015 ROSS DALY- Modal composition (Open Seminar) KELLY THOMA- Lyra with sympathetic strings (Open Seminar) PERIKLIS PAPAPETROPOULOS- Lavta (Open Seminar) GEORGE PAPAIOANNOU- Violin 1st part (OPEN SEMINAR) 31/8-5/9/2015 ZACHARIS SPYRIDAKIS- Cretan Lyra (Open Seminar) MICHALIS KONTAXAKIS- Cretan Mandolin (Open Seminar) JOHN PAPATZANIS- Percussion in cretan music (Open Seminar) GIORGIS MANOLAKIS- Cretan Laouto (Open Seminar) 7-12/9/2015 GIORGIS MANOLAKIS- Bouzouki (Open Seminar) .

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In 1094 the Greek Emperor Alexius I asked Pope Urban II for aid. Turkish armies had overrun the Eastern provinces of the Greek empire empire and were getting close to the capital, Constantinople. The Pope appealed to Western European knights to put their differences and petty squabbles aside and help the Greeks in the east. He summoned them together to take part in a Holy War that would also serve as a pilgrimage to Jersalem. The first Crusade would soon begin. 1 TABLE OF CONTENTS 5.3 The Mercenary Post . .35 1.0 GETTING STARTED . .4 5.4 Available Units . .35 4. noitallatsnI dna stnemeriuqeR metsyS 1.1 metsyS stnemeriuqeR dna . noitallatsnI . 4. 5.5 Gathering your Forces . .38 5. .sedoM emaG dna emaG eht gnitratS 2.1 gnitratS eht emaG dna emaG .sedoM . 5. 5.6 Marching Orders . .39 1.3 Game Options . .6 5.7 Changing your Units Stance. .39 1.4 Game Overview . .7 5.8 Military Commands. .40 1.5 About t eh .launaM . .. 7. 5.9 Map Bookmarks . .42 1.6 Winning and Losing. .8 1.7 Playing a Multiplayer Game. .9 6.0 DEFENDING YOU R P EOPLE . .42 1.8 Map Editor Overview. .11 6.1 The Gatehouse. .42 1.9 Crusader Games. .12 6.2 Building High and Low Walls . .43 6.3 Turrets and Towers . .43 2.0 GAME B ASICS . .15 6.4 Placing Stairs . .44 2.1 Main Screen Overview and Navigating the Map . .15 6.5 Traps . .44 2.2 Camera Interface. .15 6.6 Moat Digging . .44 2.3 Placing your Keep.
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PANAYOTIS F. LEAGUE Curriculum Vitae Harvard University Music
PANAYOTIS F. LEAGUE Curriculum Vitae Harvard University Music Department 3 Oxford Street Cambridge, Massachusetts 02138 617.999.6364 [email protected] EDUCATION 2017 PhD, Music Department (Ethnomusicology), Harvard University Dissertation: “Echoes of the Great Catastrophe: Re-Sounding Anatolian Greekness in Diaspora” Advisors: Kay Shelemay and Richard Wolf 2012 M.A., Department of Musicology and Ethnomusicology (Ethnomusicology), Boston University 2008 B.A. (with Highest Distinction), Classics and Modern Greek Studies, Hellenic College PROFESSIONAL APPOINTMENTS 2019 Florida State University, Assistant Professor of Ethnomusicology 2019 Milman Parry Collection of Oral Literature, Harvard University Associate for the James A. Notopoulos Collection 2019 (Summer) Paraíba State University, João Pessoa, Brazil Visiting Assistant Professor of Ethnomusicology (via Fulbright U.S. Scholar Award) 2019 (Spring) Harvard University, Lecturer in Music 2018-2019 Massachusetts Institute of Technology, Lecturer in Music 2018 Milman Parry Collection of Oral Literature, Harvard University Milman Parry Collection Fellow 2018 Managing Editor, Oral Tradition 2017 Milman Parry Collection of Oral Literature, Harvard University James A. Notopoulos Fellow League, 2 2017 Harvard University, Departmental Teaching Fellow in Music LANGUAGES Fluent: English, Greek, Portuguese Reading proficiency: Spanish, French, Italian, Ancient Greek, Latin, Turkish, Irish Gaelic Learning: Yoruba, Tupi-Guarani HONORS AND AWARDS 2018 Traditional Artist Fellowship, Massachusetts Cultural Council 2016 Professor of the Year Award, Hellenic College 2015 Harvard University Derek Bok Center for Teaching and Learning Certificate of Distinction in Teaching for “Introduction to Tonal Music I” 2015 Victor Papacosma Best Graduate Student Essay Prize, Modern Greek Studies Association, for “The Poetics of Meráki: Dialogue and Speech Genre in Kalymnian Song” 2015 James T.
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FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age.
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Karpouzi Trio Margaret Loomis Len Newman Spyros Koliavasilis
The American Folklife Center of the Library of Congress presents Traditional Ethnic and Regional Music and Dance that’s “Homegrown” in Communities across the U.S. HOMEGROWN IN WHITTALL PAVILION KARPOUZI TRIO MARGARET LOOMIS LEN NEWMAN SPYROS KOLIAVASILIS MUSIC from GREECE and ASIA MINOR Wednesday May 7, 2014 REE AND OPEN 12 NOON – 1 PM F Whittall Pavilion TO THE PUBLIC Ground Floor, Thomas Jefferson Building Metro Stop: Library of Congress Capitol South, one 10 First Street, SE, block south of the Washington, DC Jefferson Building Cosponsored with the Library of Congress Music Division and Maryland Traditions Request ADA accommodations five days in advance at (202) 707-6362 or [email protected] For more information contact Thea Austen 202-707-1743 KARPOUZI TRIO MUSIC from GREECE and ASIA MINOR Karpouzi plays music on traditional instruments Greek world. Spyros also been awarded an honorary from the Greek mainland and islands.The band loves degree from the University of Tulsa for his musical to play for dance parties and community celebrations, scholarship. His next research project will focus on and always, even in concerts, invites the audience out the clarinet traditions in and around Mesogeia in of their seats and onto the dance floor. Karpouzi’s Attica, near his birthplace in Markopoulo. members are Spyros Koliavasilis (vocals, oud, laouto, Spyros also composes music. His CD, kemane), Margaret Loomis (santouri) and Len Mediterranean Thoughts, contains his compositions as Newman (laouto). well as original arrangements and improvisations on Dr. Spyros Koliavasilis is a gifted vocalist and traditional music. multi-instrumentalist, playing and teaching oud, Dr.
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Modality and Diversity in Cretan Music by Michael Hagleitner
IMS-RASMB, Series Musicologica Balcanica 1.1, 2020. e-ISSN: 2654-248X Modality and Diversity in Cretan Music by Michael Hagleitner DOI: https://doi.org/10.26262/smb.v1i1.7752 ©2020 The Author. This is an open access article under the terms and conditions of the Creative Commons Attribution NonCom- mercial NoDerivatives International 4.0 License https://creativecommons.org/licenses/by-nc-nd/4.0/ (CC BY-NC-ND 4.0), which permits use, distribution and reproduction in any medium, provided that the articles is properly cited, the use is non-commercial and no modifications or adaptations are made. Hagleitner, Modality and Diversity… Modality and Diversity in Cretan Music Michael Hagleitner Abstract: Cretan music is a vibrant and diverse living tradition, with identity-forming significance for the local population. It is a modal music whose modes, unlike in related modal traditions, cannot be described on the basis of characteristic phrases, as the same skopous (basic melodies) can be played in different modes. In this article, after a short introduction to the structure and certain peculiarities of Cretan music, four characteristic families of modes are described. The flexibility and permeability in the usage of modality are demonstrated using examples from the repertoire of kontylies. Such freedom is also found in the variation, embellishment and combination of melodies and the relationship between text and music. Such a high degree of flexibility is essential for Cretan music to fulfil its social function. It supports spontaneity, communication and expression in the context of participatory music- making in the parea (community) as well as the mutual interaction between musicians and dancers in Cretan dance music.
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Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
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The New York Times Book Review
Danse Macabre Andrew Katzenstein Lament from Epirus: original 78s, including works of Delta passionate; the instruments keen like melody while the rest remain on fixed An Odyssey into Europe’s blues, Cajun, gospel, and Sacred Harp wolves or flutter and swoop like hum- tones. Iso- polyphony has a hypnotic ef- Oldest Surviving Folk Music music. His unorthodox methods for mingbirds. The insistent strumming fect: the moving parts play off against by Christopher C. King. capturing sound from these old records and drumming, the pedal notes, the the static ones, which gives the music Norton, 304 pp., $29.95 yield brilliant results. The music critic droning of strings and accompanying a tension that always tends toward the Amanda Petrusich observed that in voices churn with a primeval energy. keynote but only rarely resolves. Sing- Kitsos Harisiadis: King’s home studio, Aspects of the music suggest bluegrass, ers in iso- polyphony use no vibrato Lament in a Deep Style, 1929–1931 or free jazz, or the Velvet Underground, and channel sound through their nasal an album produced the turntable . .was littered with or the Carnatic music of southern India. passages, creating a buzziness when by Christopher King oddly sized bits—matchsticks, But something sounds a bit off: the in- harmonies are close and a powerful, with Vassilis Georganos. tongue depressors, little plastic struments aren’t quite in tune and aren’t limpid tone when the voices collapse Third Man Records, $15.00 ice- cream spoons—that he used to playing quite the same melody, or the into unison. weigh down the tone arm based on meter in a song intended for dancing is King emphasizes two types of While You Live, Shine assumptions he’d made or things a fast 7/8 or 9/8 that no one, it seems, Epirotic songs: the skaros and the mi- a documentary film he’d learned regarding certain could possibly keep up with.
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Jesse Manno Cv 2011 Music Skills/Specifications
JESSE MANNO CV 2011 1 MUSIC SKILLS/SPECIFICATIONS: -Versatile collaborator, composer and improviser with well honed “one man band” skills. -Audio Producer, recording, mixing and live sound Engineer/designer. -Multi-lingual vocalist with 3.5 octave range, multiple styles. Instruments played: Lutes (laouto, bouzouki, bağlama, divan sazı, cura, oud, 6 and 12 string guitar), Percussion (drum set, doumbek, riqq, tabla baladi, davul, djembe, djun djuns, conga), flutes, accordion, piano, electronics, laptop, field recordings, and objects not typically used for musical purposes. Recording Studio: 500 sf, iso room, Logic Pro, Steinway 1919 grand piano, 24 ch. digital mixer, MOTU firewire interface, Grace and API pre-amps, Korg and Kurzweil synths. AKG, Røde and Chameleon mics. Foriegn languages: French (fluent with faults), Turkish (basic), Indonesian, Spanish, Italian (limited). COMMISSIONED SCORES/EVENTS for dance/theatre/film (partial list): Utopia Parkway 70 min. multimedia homage to visual artist Joseph Cornell directed by dance improvisation artists/choreographers Chris Aiken and Angie Hauser, with co-musician Ty Burhoe, premeired at Dance Center Columbia College, Chicago, IL, 2011. Come To Your Senses Closing event for the 16th annual Los Angeles Art Show, with aerial dance artists The Stebens Twins, Turning The Wheel, Timothy Yarger Fine Art. Cooper Design Space, L.A., 2011. Come, and Back Again Music director, arranger, performer, 12 min. dance theater piece exploring the work of Patti Smith. Choreographed and directed by David Dorfman, Bates Dance Festival, Maine, 2011. I, Disappear 12 min. modern dance work for laptop, Turkish Saz, and vocals, choreographed by Michael Foley. Commissioned by Bates Dance Festival, Bates College, Maine, 2010.
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Greek Rhapsody | Norient.Com 2 Oct 2021 21:43:43
Greek Rhapsody | norient.com 2 Oct 2021 21:43:43 Greek Rhapsody by Tony Klein The renowned Dust-To-Digital label offers rare and beautiful music from archives for many years now. Greek Rhapsody is their latest product, 42 instrumental tracks from Greece, recorded between 1905 and 1956, remastered from 78rpm recordings and collected by musician and scholar Tony Klein. For Norient Klein reflects about the «culmination of his lifetime». Greek Rhapsody is in a way a culmination of an Englishman’s lifetime with music. I’ve played musical instruments for 56 years, and have played Greek music for 40 of those. Although I sang enthusiastically in my school choir as a boy, I’ve always been an instrumentalist at heart. For me instruments are also voices, and I have always felt very sensitive to the details of sound. So although I was drawn https://norient.com/stories/greek-rhapsody Page 1 of 6 Greek Rhapsody | norient.com 2 Oct 2021 21:43:43 into Greek music as much by singers as by bouzouki and clarinet players, I’ve therefore wanted to communicate my appreciation of instrumental playing in a more specific way than has previously been done in reissues of 78rpm recordings of Greek music. Having played the music not only on bouzouki, but on guitar, laouto, oud, mandolin, mandola, baglamas, tzouras, flute, and even on my first instrument, the violin, a physical relationship to the instrumental sounds has driven me in my striving to let these often very old, and sometimes very worn recordings, sound as acoustically authentic as possible, and thus simply communicate more.
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Greek Traditional Songs & Instruments
Greek traditional songs & instruments In this e-book we, the Greek Erasmus+ Team, will present you some of the customs,the traditional songs and instruments from all over Greece. Junior High School of Agia In Greece we have many traditional songs for dierent occasions. They passed down from generation to generation oray and remain unforgettable ti today. The Greek traditional song is basicay monophonic. It was created by the anonymous people and it was inuenced by Byzantine ecclesiastical music. The ethnomusicologists divide the Greek traditional songs into two species: The So, Lina, Nicky, Antonia, Marilia, Elena, ones that exist on the islands and the Stergios and Konstantina began to seek others in the mainland. for information. After a lot of research In this e-book we chose to share with they decided to share with you the you traditional songs that are connected following customs, songs and traditional with some of our customs both in the instruments!! mainland and the islands! CAROLS OF LAZARUS In Greece, we celebrate the day that the That day children holding a Lord stood in front of Lazarus´tomb and basket decorated with ﬂowers go called to his dead friend “Lazarus, come from door to door and sing the forth”, by singing the carols of Lazarus following lyrics. Housewives give one week before the day of Lord's them money and eggs. resurrection. PERPERUNA 'S CUSTOM Perperuna is a pan-Hellenic and ancient ritual asking for rain. When it wasn't raining in various parts of our country and the crops were in danger of being lost due to the drought, the inhabitants would either go to church to pray or perform a Perperuna ritual.
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Music Composition-Recording
JESSE MANNO www.JesseManno.com CV 1 2016 MUSIC SKILLS/SPECIFICATIONS: -Versatile composer, improviser, dance accompanist, teacher. Well honed “one man band” skills. -Audio producer, recording, mixing and live sound engineer, sound designer. -Multi-lingual vocalist with 3.5 octave range, multiple styles incl. beat box and overtone singing. Instruments played: Lutes (laouto, bouzouki, bağlama, divan sazı, cura, oud, 6 and 12 string guitar), Percussion (drum set, doumbek, riqq, davul, djembe, djun djuns, conga, other), piano, middle eastern flutes, accordion, electronics, laptop, field recordings, and many objects not typically used for musical purposes. Project Studio: 550 sf, with iso room, Mac, Logic Pro, 1919 Steinway 6’ grand piano, 24 ch. digital mixer, MOTU interface, Grace and API pre-amps, Korg and Kurzweil synths, AKG, Røde and Chameleon mics. Foriegn languages: French (competent); Turkish (basic); Indonesian, Spanish, Italian, German (limited). INSTITUTIONAL EMPLOYMENT/TEACHING EXPERIENCE: University of Colorado, Boulder Dept. of Theatre and Dance 50% appointment 1991-Present Senior Instructor (Currently Dnce 3014/5014 Rhythmic Analysis and Dnce 3024/5024 Musical Resources, previously Dnce 5064 Graduate Music Seminar), Music Director (hiring, training, purchasing, maintenance, budget management), modern and african dance accompanist (8-10 hrs/wk), Committee service: merit review, faculty search, program fee, ACDA conference, MFAs and BFAs. Associate hourly accompanist from 1984-1991. Bates Dance Festival Bates College, Lewiston,
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THE CRETAN LYRA in PERFORMANCE Kevin Dawe*
KEMENÇE SPECIAL ISSUE THE CRETAN LYRA IN PERFORMANCE Kevin Dawe* * Abstract The lyra has a special and perhaps unique presence in the musical landscape of Greece. On the island of Crete, lyra music and musicians enjoy a well established role as custodians of ‘roots music’ through the lyra-laouto ensemble (a bowed lute with accompanying plucked lute duo or trio which may be augmented from time to time with mandolin, guitar or percussion). The richness and complexity of this performance phenomenon, involving music, poetry and dance, necessitates that a broad ethnomusicological perspective be adopted in any attempt to understand it, demanding prolonged, multifaceted and interdisciplinary research. This paper will provide an overview of my own attempts to meet these demands. I discuss some of the ways in which lyra music, musicians and the lyra itself are agential in Cretan musical, social and cultural life, including historical background, organological detail, with a focus on performance practices. The power of the lyra music tradition relates to some of the most fundamental organisational characteristics (and issues) that have defined Cretan society, with the expression of deeply-seated local cultural values. This is evidenced via a range of inter-connected phenomena and relate strongly to the structuring of musical performances. Crucial here are the virtuosic performances of lyra musicians at celebrations – their techniques of improvisation will be discussed in some detail in this paper - and their high profile work within the vehicle of a local recording industry. Musicians as entrepreneurs in this context exploit a range of opportunities, inviting participation but also shaping expectations.
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