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Sector of Historical and Systematic Musicology

  • Aesthetics and Philosophy of Music. 
    A critical survey of the main philosophical theories of music in modernity: critical and speculative idealism, voluntarism, formalism, Neo-Kantianism, phenomenology, critical theory (Kant, Hegel, Schopenhauer, Hanslick, Ingarden, Kurth, Langer, Meyer, Adorno etc)  
  • Introduction to Historic and Systematic Musicology. 
    A discussion of some topics of major importance for musicology, such as: object and fields of musicology, main concepts of musicology (form, genre, style), problems of periodization and method in music historiography, tonality and tonal systems, aesthetic and sociological parameters of music, music analysis and its relation to value judgment etc    
  • Music in modern thought (seminar). 
    Aiming at a critical reconstruction of major arguments, the seminar examines the adventures of modern thought on music, through the selection, analysis and critical discussion of texts got from philosophy and aesthetics, music theory, history, and criticism.  
  • History of Orchestration. 
    The development of orchestration through the analysis of important scores by Mozart, Haydn, Beethoven, Schubert, Mendelssohn, Schumann, Wagner, Liszt, Bruckner, Tchaikovsky, Mahler, R. Strauss, Stravinsky and others.
  • Palaeography of music   
    The development of music notation from the Middle Ages to the Renaissance. Byzantine 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 instrumental music in the Renaissance. Music and typography. Transcriptions from Medieval and Renaissance manuscripts. Music examples.  
  • Gregorian chant   
    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 ecc.. 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 information we draw from the theoretical treatises of the period, concerning the performance 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.   
  • Introduction to greek and latin palaeography   
    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).  
  • Music palaeography: old byzantine notations
    Birth and development of the notation in Byzantium. Ekphonetic notation, local notations, palaeobyzantine notations, middlebyzantine (round) notation. Transcriptions from byzantine manuscripts with middlebyzantine notation. Music examples.   Seminar: Critical edition of Gregorian melodies  Seminar: The manuscript tradition of the music of Southern Italy.
  • Element. choral conductin
  • Element. orchestral conducting
  • Element. Instrumentation
  • A history of the symphony orchestra since 1950 orchestra
  • Brief history of western music I 
  • Claudio Monteverdi and his era 
  • Greek composers of the Renaissance 

Sector of Ethnomusicology and Cultural Anthropology

  • Introduction to the Traditional Greek Music
  • Greek Folk Musical Instruments
  • Urban Folk Music,
  • Historical Review of the Greek song
  • Methodology of the ethnomusicological field-research
  • Music in the Greek shadow-theater
  • Introduction to the Arab – Persian Music  
    Main purpose of this course is the induction of the students to the written music tradition of Arabs and Persians which was developed in the past mainly on the aristocrats’ courtyards and was growth by a different way in each caliphate. The constitution of the Arab musical theory in the Middle ages, the role that Syrians and Arabs had had as far as the diffusion of ancient Greek musical thought, the historical and cultural substratum of these references, the tonic system of Arabs and Persians, the forms of sacred and profane music, the instruments and music ensembles, are the main thematic regions of this course. The lectures are accompanied by musically examples.  
  • Ιntroduction to the Indian Music.  
    India was always a station one of the most ancient cultures of humanity. Main purpose of this course is the induction of the students in issues about the constitution, the culture and the development of “classic” Indian music, which its development took place mainly in the aristocrats’ courtyards. The role of religion in the development of Vedic hymnody, the relationship of language and music, the musical theory and the accentual system, the musical notation and aesthetics, the composition of music ensembles as well as the effects with other musical cultures, as the Arabs and Persians, constitute certain from the thematic units that are examined. The lectures are accompanied by musically examples.   
  • Ethnomusicology I
    The aim of the course is to introduce students to the definition, scope, and methods of Ethnomusicology. Through a survey of its history, the course explores the relationship of Ethnomusicology with Historical and Systematic Musicology, as well as current tendencies in the discipline.  
  • Ethnomusicology II
    The course presents and analyses specific topics from the field of Ethnomusicology. The class is organized around a series of issues that include: social dimensions of musical expression, oral and literate musical creation, analysis and performance, continuity in musical traditions.   
  • Music Transcription and Analysis in Ethnomusicology  
    Music transcription and analysis constitute two of the most significant tools of Ethnolusicology for the investigation of the tone systems and morphology characteristics of oral musical idioms or traditions. The objective of the course is to teach students how to use the methods of transcription and analysis and familiarize them with the particular issues that arise from the notation of sound due to the particularities of different musical idioms.
  • Music Cultures of the Mediterranean: South Europe and Turkey (winter semester)
  • Music and Politics (winter semester)
  • Music Cultures of the Mediterranean: North Africa and Middle East (summer semester)
  • Ethnomusicology and Music and Education (summer Semester)
  • Cultural and Music Anthropology I”
    The aim of the course is to introduce students to the subject of study, methodologies and products of work of cultural anthropology. More analytically, we will make an historical review of the key concepts, methods, questions, topics and tendencies in anthropologists' effort to understand culture in historical as well as in global perspectives. Special emphasis will be given on ethnography, that is, the method and product of anthropological research. Through various ethnographic examples we will investigate topics that are central in contemporary anthropological thought: culture and meaning, language and communication, social construction of identity and reality, cultural aspects of social and economic hierarchies.   
  • Cultural and Music Anthropology II”  
    After having completed a review of the key concepts, methods, and subjects of study of cultural anthropology, in this course we will focus in the anthropological study of music. More specifically, we will study music from the point of view of anthropology, as a social and cultural phenomenon that forms, and is formated by, social relations, cultural identities and meanings. Through various ethnographic examples, we will investigate the main theoretical orientations (like interpretive  phenomenology and ethnographic criticism) and issues (like gender, ethnic and national identities, body and senses, globalization) that current anthropological approaches of music (and dance) bring.  
  • Music Identities and Internet Ethnography”
    Nowadays anthropologists and ethnomusicologists turn to the study of urban, Western societies and become more interested in the study of phenomena such as globalization and transcendence of clearly defined musical and cultural boundaries. Through ethnographic examples from various popular music cultures (rock, pop, EDM, hip-hop etc.), we will explore issues like the relationship between humans and technology, ethnic and gender identities, the construction of musical communities. Special emphasis will be given on the construction of online music communities and identities, as well as on the new methodological issues raised by Internet ethnography. 
  • Ethnographic Approaches to Performing Arts”
    This course investigates the notion of 'performance' in relation to the performing arts (especially music and theatre) and to relevant theories. Performance theories derive from various disciplines: cultural studies, social/cultural anthropology, theatre studies. During lectures we will analyse performances from various theatrical and musical traditions and investigate the meaning and the processes of its production, that participants attribute to them. 

Sector of Sound Technology, Music Education and Byzantine Musicology

  • Music Acoustics
    In this compulsory module students will get acquainted for the first time with Acoustics, which unfortunately is not taught in secondary education. Acoustics, as the science of sounds, and especially Musical Acoustics, which studies the mechanisms of sound creation and the ways human beings perceive sounds as music, should be of fundamental importance to music students.
    The high number of experiments taking place or demonstrated in a virtual lab with the help of a computer makes the theory of the module understandable. There are 13 chapters:
    1. Oscillating systems
    2. Waves
    3. Sound
    4. Objective parameters of sound
    5. Subjectiveparameters of sound
    6. Sound sources
    7. Theorems for pythagorean musical intervals
    8. Anatomy and physiology of the ear
    9. Sound pollution
    10.  Musical scales
    11. The human voice instrument
    12. Music notation
    13. Psychoacoustics and music 
  • Introduction in Music Technology
    Special topics are taught on the history of music technology and on the current basic tools for creating, reproducing, exploring and communicating music. More precisely, we go through the main categories on the evolution of music software and hardware as: electronic peripheral instruments and software (synthesizers, samplers, rhythm machines), recording music sequencers, classification sound libraries, software/hardware for music education, MIDI-protocol and internet use in music performance and creation, introduction in music programming, etc.  The students are specially trained on music scoring and sequencing. 
  • Introduction in Electroacoustic Music
    |The aim of the course is to introduce students to the world of electroacoustic music through the history and aesthetics of music creation and technology during the XXth century. The course is divided in four main chapters as: the Aube of electronic instruments, the period of Studio, the period of analog synthesizers, the period of MIDI and personal computer, and the period of  digital revolution through the internet. Special chapters deal with concrete, electronic music techniques and language, live electronics and computer music.
  • Sound Analysis-synthesis
    In the first part of the course (sounds analysis) main analysis techniques and basic principles of audio signal processing are taught (waveforms, spectral analysis and three-dimensional representations of audio samples)  through special software (Praat, Audiosculpt, sonicvisualizer). In the second part we explore sound synthesis techniques (additive, substractive, FM, AM, physical modeling, granular synthesis) by special modules through Μax/Msp.
  • Singing voice acoustics and technology
    Special topics on singing voice physiology, acoustics and psychoacoustics are  presented within this course, which are based on recent research. Case studies from different ethnomusicological fields are analyzed in order to understand the vocal singing sytle: rock, jazz, demotic greek singing, opera bel-canto, etc. Special techniques of singing voice recording are discussed, as also parameterization of the vocal signal through the PRAAT platform  in order to understand the  singing voice timber variations upon the style and the culture. 
  • Techniques Electronic Orchestration
    Special topics are being taught on creating AUDIO and MIDI sequences through  software sequencers (Cubase SX and Logic) that help the students to  get more familiar with the protocol MIDI and the simulation of music performance. Through original research, creative hands-on projects, readings, and lectures, the following topics will be explored: the science of music performance, the impact of technology on composition and orchestration and the new possibilities offered for sound design. Students are also trained on the electronic simulation of a string quartet, creation of a sound poetry or a sound portrait,  historic or natural soundscapes and  mixed orchestration studio techniques. 
  • Techniques and forms of electroacoustic and computer music
    Theoretical topics on concrete music techniques through the spectromorphological model, on computer music (granular synthesis and stochastic models) and on interactive music techniques. Listening aspects, analysis techniques and introduction to PD environment.
  • Music Informatics – Computational Musicology
    This module offers an introduction to the area of music informatics, and computational musicology in particular, in the framework of systematic musicology. Topics taught include introduction to Artificial Intelligence, philosophy of mind, knowledge representation, similarity and categorisation, music information retrieval. Methods of analysis covered include motivic, paradigmatic and syntagmatic analysis. No knowledge of computers is necessary for this module, which is theoretical in nature. 
  • Introduction to Music Psychology
    Thid module offers an introduction to the main concepts and methods of psychology, with a particular focus on cognitive psychology and psychology of emotion. Topics in music cognition, theories of representation, categorisation, music and emotion, and music therapy are given particular emphasis. 
  • Special Topics in Music Informatics
    The topics taught in this module vary from year to year, and include an introduction to Programming in Logic (Prolog), topics in computational music analysis, and in new technologies for music education and music therapy. 
  • Music and Cognitive Science – Music, Language and the Mind
    Cognitive Science is an interdisciplinary area involving computer science, psychology, philosophy and neuroscience, and its main focus in the study of the mind and brain, and the nature of intelligence more generally. In this module various topics on musical perception, memory, attention and intelligence are discussed. Special emphasis is given to the notion of musical concepts and music categorisation, and these are discussed in the context of music analysis. Relations between music and language are also considered, as is the relation between linguistics and musicology as a science. 
  • Music Psychology – Music in the Community
    Music in the community is a new exciting area of practice, research and teaching, which relates to how to practice musical activities with various groups of people, and especially disadvantaged groups of the society. In this module the theoretical framework includes topics in cognitive and social psychology, music therapy, music improvisation and composition, as well as selected topics of clinical psychology and psychiatry. Students get a placement to work with a disadvantaged group in the community, such as a psychiatric rehabilitation unit, drug rehabilitation, various special schools, and various NGOs with immigrant and roma children. Guest lecturers visit the seminar throughout the semester. 
  • Introduction to microphones and loudspeakers
    The lesson covers Microphones and Speakers.
    All types of them according to the way they are made, their directivity, frequency response.
  • Introduction to sound engineering
    The lesson covers from the basics to the advanced multi mic or special placement techniques of recording, editing and mixing in various types of music.
  • Music for media
    The lesson investigates how music is been used with different types of media like, radio, TV, cinema and the internet. The lost art of sampling is been taught and the first assignment requests a “music” composition to be made from a single continues sample that they have to capture.
  • Rearagement of musical piece with the aid of computer - Remix
    The lesson analyses the historical background of the “remix” of popular and dance songs. The use of the synthesizer is been examined in context to those styles of music and the first assignment requests a set of preset sounds to be sound designed in a given VST instrument. The second assignment requests a remix to be made out of multitracks of a given popular song. The last assignment requests a remix to be made out of song as it is on a commercial CD, usual something very popular.
  • Music Industry
    When we refer to the ‘Music Industry‘, we mean the whole circuit that produces and distributes the music of the artist, with all of its supportive sides. Before the 20th century, the music of the artist was reaching the audience only through a live performance. Technological advances at the 20th century allowed the ‘storage’ of the music or the radio in the beginning and later the television transmition, with a view to the reproduction of it the private place of the audience. In this way, the music reaches the consumers in the shape of records, CDs, DVDs and the internet. However, what is taking place in that process? There is an army of people, companies and facilities that work in the between the artist and their listeners. Those are the manager of the artist or band, the home studio, the publishing company, the record company, the record contracts, the record producer, the commercial recording studio, the mastering studio, the record factory, the distribution company, the image maker, the promotion of the record to the media (single, video clip), the live concert production company, the multimedia and their production, the promotion and the sales on the internet, the performing and mechanical rights company, and the accounting and legal support of all the above.
  • Sound engineering for music teachers
    This lesson covers the essentials needed for Music Teachers to operate a small P.A. (Public Address) system for a concert or celebration at the Music School they are working.
    It covers microphones, speakers, analogue and digital mixers, audio processors (compressors, expanders, limiters, delays, reverbs, flangers, phasers, chorus, equalizers, etc) 
  • Music Education I
    The subject covers a wide area within music education. Learning and teaching theories and their application in music teaching represents the core of this subject. Emphasis is placed on the music teacher’s role, as well as the music curriculum and Music’s place in Greek education. Practical examples of lesson planning and music activities for different ages and educational levels are presented throughout the semester. Group visits to selected schools for music lessons and classroom observations are organized during the semester whenever it is possible.     
  • Music Education II
    This subject includes an overview of music teaching methods from ancient times until today with an emphasis on 20th and 21st century approaches. More particularly the methods of Kodaly, Dalcroze and Orff are described in detail with practical examples and activities. The importance and impact of various music teaching methods throughout the centuries for today’s music classroom will be explored. Group visits to selected schools for music lessons and classroom observations are organized during the semester whenever it is possible.     
  • Integrative Approaches in Music Teaching
    The contemporary trend for integration in teaching and learning is explored through theoretical and philosophical views as well as practical applications in Greece and the world. Different opinions, problems, strengths and weaknesses are identified with specific examples of models and applications of integration in music and the other arts in USA, UK and Europe. Particular emphasis is placed the current curriculum for music in primary and secondary education in Greece and its integrative characteristics. Group visits to selected schools for music lessons and classroom observations are organized during the semester whenever it is possible.
  • Music Teaching Practice I and II
    This is a class which expands in two semesters. Students have regular classes at the University throughout the academic year and at the same time they have 10 hours of compulsory teaching practice in three types of schools: primary, secondary and music school.
  • Echoi  and eastern modal systems 
    The Byzantine Music or “Psaltiki” and the Greek traditional music in general is part of a wider group of musical traditions of the Eastern Mediterranean which have common  musical features. One of the greatest targets of the course is the perception of the theoretical analysis in terms and principles that originated in the ancient Greek music theory, evolved during the Byzantine era and disseminated by the interaction with the neighbouring cultures (Arabs, Persians, Ottomans, Slavs, etc.). The most important and extensive part of the Greek theory is the modality, which, in Byzantine Chant tradition that survived until nowadays, is expressed by the so-called Echos. In this course essential elements of the Theory of Psaltic and the Greek traditional music, as well as a basic description of the principal Echos are taught. Ancillary book: D. Giannelos, Syntomo theoritico (Brief theoreticon) of Byzantine music. Notes by the professor provided. The course also uses acoustic psaltic examples.   
  • Secular repertory in byzantine parasemantike  
    By using the notation of the Byzantine Music, an important volume of secular repertory was set down, apart from the Psaltic pieces. This repertory mostly concerns the so-called Learned (“savant”) Music of Constantinople, in Arabo-persian forms, and so far it counts more or less 4.500 pages of records on the manuscripts of Psaltike, and almost 2.500 pages of printed editions. Moreover , the school ditty repertory was set down towards the end of the 19th century, and a considerable amount of records particularly in the 20th century regards the Greek folk song. This material, except for its importance concerning both the study of the Greek music History and the relation between the Psaltic and the secular species of music, is nowadays a prominent source for the peripheral tradition of the Eastern Mediterranean, in terms of antiquity and data availability.  In the class there will be a presentation of the most important sources as well as specific issues which come in, such as Historical Musicology,Theory and “Exegesis” of secular compositions from the Old Parasemantice. Notes by the professor are provided.   
  • Psaltic art and hellenic  demotic music 
    The musical relationship between the two fields has been noted many times  in the past. Having considered briefly the points of contact  between the two areas (language, variety of intervals, modality, synthesis’s techniques, anthropological factors etc.) and the main differences (use of instruments, secular or not character, a variety of local traditions etc.), the depth and the extent of this relationship with the criterion of modal analysis is further explored.  Focusing on basic divisions and branches of Oktaechia, representative pieces of folk music of the major local Greek traditions are respectively modally analyzed.  Relevant audio material and recordings are utilized.    
  • Psaltic art and  modern hellenic urban popular music 
    A large part of modern Greek urban folk music shows relationship with the Byzantine music. We detect the individual items and points of contact regarding this relationship in a diachronic examination divided in periods by significant changes (Asia Minor disaster, predominance of bouzouki, appearance of special musical currents, such as “rebetiko, artistic, political” song, etc.). By using the tool of modal analysis, we attempts to localize the more closely related repertoire to the core of the Byzantine Oktaechia’s modal characteristics. Use relevant audio material and recordings are being utilized.    
    The theoretical principals used by the Psaltic are the main subject being taught at this course, with emphasis on basic terms such as modality, intervals, production and discriminations of multi-modal subcategories, theory of the main Echos. As a fundamental enchiridion is suggested the Mega Theoreticon by Chrysanthos, and complementary notes are provided.    
    In succession of the course THEORY AND PRACTICE OF THE PSALTIC ART I, this course examines thoroughly the modal  analysis of the Echos and their Elements. A wide and rich range of  examples and references to parallel modal Easterly Systems are used. Notes by the professor are provided.