Professor
Sound Τechnology, Music Pedagogy & Byzantine Musicology
Tel.: 0030 2107277478
FAX: 0030 2107277478
Room: 927
Floor: 9th
Contact: After contact via e-mail
email: axaldaiak@music.uoa.gr
Academic Career
Achilleas G. Chaldæakes: Professor of Byzantine Musicology and Psaltic Art at the Department of Music Studies of the School of Philosophy of the NKUA. He teaches on both undergraduate and postgraduate level at the NKUA, but also at other Universities and Institutes. His personal approach to this particular learning object is determined by an innovation: the study, analysis and comprehension of the Τheory, Ηistory and Aesthetics of Music through its practical expression. He firmly believes that the combination of Theory and Practice is instrumental for a substantial knowledge of the phenomenon of musical creation, and up to the present day he has supported this belief with his scientific, educational and artistic work. He also delivers lectures and participates in seminars and workshops, whereas his parallel artistic activity illustrates the practical application of any theoretical view. This multifaceted activity in the field of Byzantine Musicology and Psaltic Art has already been given approval and a favorable reception both in Greece and abroad, as it is shown by the invitations addressed to him and the broad interest in his work. His whole activity as an internationally recognized musician in his twofold quality, both as a scientific researcher and University Professor and as an artist, interpreter, and director of musical ensembles, explores new paths toward a global, multifaceted and innovative, approach to Byzantine Musicology and Psaltic Art.
Research interests
Achilleas Chaldæakes’s published scientific work comprises more than 200 studies (monographs, articles, entries in encyclopaedias, papers in congresses, essays in various collective volumes and scientific reviews, etc.), mostly on various subjects (theoretical, historical, aesthetical, etc.) pertaining to the field of Byzantine Musicology and Psaltic Art. He is also a regular collaborator and consultant on Byzantine musicological entries in the Great Orthodox Christian Encyclopaedia, the ПРАВОСЛАВНАЯ ЭНЦИКЛОПЕДИЯ and the Grove Music Online. He participates in Conferences on Byzantine Musicology and Psaltic Art both in Greece and abroad, and is a member of the scientific and organizing committees in most of them. He is also an active member of various international scientific societies (such as The Institute of Byzantine Musicology, The International Society for Orthodox Church Music, The American Society of Byzantine Music and Hymnology, etc.) whose activities are focused on Byzantine Musicological studies
Taught Lessons
Books (indicatively)
Representative Publications
English
Chaldæakes, Achilleas G. (2020) “Reflections of Ecclesiastical Policy in Sacred Music: The Case of Patriarch Athanasios V”, in Ivan Moody & Ivana Medić (eds.), Orthodoxy, Music, Politics and Art in Russia and Eastern Europe. Pages 17-57. London: Centre for Russian Music, Goldsmiths, University of London - Belgrade: Institute of Musicology, Serbian Academy of Sciences and Arts.
___ (2020a) “John Laskaris’s Modality Schema”, Ἐπιστημονικὴ Ἐπετηρὶς τῆς Φιλοσοφικῆς Σχολῆς τοῦ Πανεπιστημίου Ἀθηνῶν 44:13-50.
___ (2018) “Is Polyphony hidden into Byzantine Monophony?”, in Rusudan Tsurtsumia & Joseph Jordania (eds.), The Eight International Symposium on Traditional Polyphony, 26-30 September 2016 Tbilisi, Georgia, Proceedings. Pages 459-69. Tbilisi: Ministry of Culture and Monument Protection of Georgia - Tbilisi State Conservatoire.
___ (2017) “A new reading of John Laskaris’s Explanation and Modulation of the Musical Art: Towards a Critical Edition of Laskaris’s Theoretical Treatise”, in Vesna Sara Peno and Ivan Moody (eds.), Aspects of Christian Culture in Byzantium and Eastern Christianity. Word, Sound and Image in the Context of Liturgical and Christian Symbolism. Pages 55-84. Belgrade: Publications of the Institute of Musicology of the Serbian Academy of Sciences and Arts - Publications of the International Society for Orthodox Church Music no. 8.
___ (2015) “Illustrating Melodies: Iconographical Instructions in Byzantine Music Theory and Practice”, in Ivan Moody & Maria Takala- Roszczenko (eds.), Church Music and Icons: Windows to Heaven. Proceedings of the Fifth International Conference on Orthodox Church Music. University of Eastern Finland, Joensuu, Finland, 3-9 June 2013. Pages 138-52. Finland: The International Society for Orthodox Church Music - Publications of the International Society for Orthodox Church Music No 6.
___ (2015a) “Τhe Sense of ‘Pleasure’ in Eastern Chant”, Human and Social Studies 4.1:119-38.
___ (2014) “Byzantine Music as ‘Tabula Rasa’ or Which should be the ‘Language’ of Byzantine Music”, in Mirjana Veselinović-Hofman, Vesna Mikić, Tijana Popovic Mladjenović, Ivana Perković (eds.), Music Identities on Paper and Screen. Pages 362-75. Belgrade: Department of Musicology, Faculty of Music, University of Arts in Belgrade.
___ (2014a) “Musical Freedom and Ecclesiastical Rules at the Ecumenical Patriarchate of Constantinople during the 18th century”, Ἀνατολῆς τὸ Περιήχημα 1:87-129.
_____ (2013) “The story of a composition or ‘Adventures’ of written melodies, during the Byzantine and post-Byzantine era”, in Gerda Wolfram & Christian Troelsgård (eds.) Tradition and Innovation in Late-and Post-Byzantine Liturgical Chant II. Proceedings of the Congress held at Hernen Castle, the Netherlands, 30 October-3 November 2008. Pages 261-89. Leuven-Paris-Walpole, MA: A.A Bredius Foundation Peeters - Eastern Christian Studies 17.
_____ (2013a) “Singing antiphonally: Unity or Variety?”, in Ivan Moody & Maria Takala- Roszczenko (eds.), Unity and Variety in Orthodox Music: Theory and Practice. Proceedings of the Fourth International Conference on Orthodox Church Music. University of Eastern Finland, Joensuu, Finland, 6-12 June 2011. Pages 139-63. Finland: The International Society for Orthodox Church Music - Publications of the International Society for Orthodox Church Music No 4.
_____ (2012) “The Greek-speaking Instruction of the Psaltic Art. Past, Present and Future”, Μusicology Today 12:173-96.
___ (2011) “The ‘woman figure’ in Byzantine Melopoeia”, in Nina-Maria Wanek(ed.), Psaltike. Neue Studien zur Byzantinischen Musik: Festschrift für Gerda Wolfram. Pages 65-100. Wien: Praesens Verlag.
___ (2011a) “‘…old wine into new bottles…’ The continuity of the Tradition in the Contemporary Composition Practice of Byzantine Music”, in 11th International Music Theory Conference; Vilnius, October 9-21, 2011; Principles of Music Composing: National Romanticism and Contemporary Music. Dedicated to the 100th anniversary of M.K.Čiurlionis’ death. Pages 90-112. Vilnius: Lithuanian Academy of Music and Theatre-Lithuanian Composers’ Union.
___ (2011b) “Yet another contributor to the exegesis’ issue: Georgios-Eutychios Ugurlus”, ГИМНОЛОГИЯ/Hymnology 6:76-108.
___ (2011c) “From the Ritual of the Matins Service: The insertion of poetic texts in the chant of the Polyeleos”, in Musicology. Journal of the Institute of Musicology of the Serbian Academy of Sciences and Arts 11: 75-101.
___ (2010) “‘All master composers of Greek ecclesiastic music’: An initial step on a new History of Greek sacral music”, in 10th International Music Theory Conference; Vilnius, October 20-22, 2010; Principles of Music Composing: Sacred Music. Pages 126-37. Vilnius: Lithuanian Academy of Music and Theatre-Lithuanian Composers’ Union.
___ (2010a) “Daniel the Protopsaltes (+ 1789): his life and work. A preliminary paper”, Revista Muzica 3:39-53.
_____ (2009) “The figures of composer and chanter in Greek Psaltic Art”, in Ivan Moody & Maria Takala- Roszczenko (eds.), Composing and Chanting in the Orthodox Church; Proceedings of the second International Conference on Orthodox Church Music; University of Joensuu, Finland 4-10 June 2007. Pages 267-301. Finland: The International Society for Orthodox Church Music & University of Joensuu: Publications of the International Society for Orthodox Church Music No 2 - Publications of Orthodox Theology at the University of Joensuu No 40.
_____ (2008) “Tradition and Innovation in the Person of Petros Bereketes”, in Gerda Wolfram (ed.), Tradition and Innovation in Late-and Post-Byzantine Liturgical Chant; Acta of the Congress held at Hernen Castle, the Netherlands, in April 2005. Pages 191-223. Leuven-Paris-Dudley, MA: A.A Bredius Foundation Peeters - Eastern Christian Studies 8.
Greek
Χαλδαιάκης, Ἀχιλλεύς Γ. (2020) «Πτυχὲς μιᾶς “μουσικολογικῆς ρητορείας”: ἕνας μοναδικὸς μουσικο-υμνογραφικὸς συνδυασμὸς σὲ πολυέλεο γιὰ τὰ Θεοφάνεια», ἈπόστολοςΤίτος. Ἐπίσημο Δελτίο τῆς Ἐκκλησίας Κρήτης 44:239-78.
_____ (2016) «“...κενόσπουδα συντάγματα...”. Διερεύνηση τῶν αἰτίων καταδίκης τῆς ... “λεσβιακῆς δυσμουσίας”», στὸ Πρακτικὰ Συνεδρίου Κωνσταντῖνος Οἰκονόμος ὁ ἐξ Οἰκονόμων. 150 χρόνια ἀπὸ τὴν κοίμησή του (1857-2007). Σελ. 493-513. Ἀθήνα.
_____ (2014) «Λόγον ἀγαθόν», Ἀνατολῆς τὸ Περιήχημα 1:283-342.
_____ (2013) «Συγχύσεις ὁμωνύμων Ἁγιορειτῶν μουσικῶν: Ἡ περίπτωση τῶν Δαμασκηνῶν», στὸ Συμβολὴ στὴ μνήμη Γεωργίου Ἀμαργιανάκη (1936-2003). Μελέτες καὶ κείμενα συναδέλφων καὶ μαθητῶν του. Σελ. 129-59. Ἀθήνα: Ἐθνικὸ καὶ Καποδιστριακὸ Πανεπιστήμιο Ἀθηνῶν-Τμῆμα Μουσικῶν Σπουδῶν.
_____ (2011) «Τὸ “ἐν ταῖς ἀγρυπνίαις” ψαλλόμενο Μακάριος ἀνὴρ τοῦ Γερμανοῦ Νέων Πατρῶν», στὸ Πρακτικὰ Πανελληνίου Συνεδρίου «Ἡ Ὑπάτη στὴν ἐκκλησιαστικὴ ἱστορία, τὴν ἐκκλησιαστικὴ τέχνη καὶ τὸν ἑλλαδικὸ μοναχισμό», (Ὑπάτη, 8-10 Μαΐου 2009). Σελ. 607-62. Ἀθήνα: Ἱερὰ Μητρόπολις Φθιώτιδος.
_____ (2010) «“Ὁ κοπιάσας ἐν τούτῳ μᾶλλον ὠφεληθήσεται”: Ὁ τροχὸς τῆς ὀκταηχίας», στὸ Γρ. Θ. Στάθης (ἐπιμ.), Θεωρία καὶ Πράξη τῆς Ψαλτικῆς Τέχνης - Ἡ Ὀκταηχία. Πρακτικὰ Γ΄ Διεθνοῦς Συνεδρίου Μουσικολογικοῦ καὶ Ψαλτικοῦ (Ἀθήνα, 17-21 Ὀκτωβρίου 2006). Σελ. 279-315. Ἀθήνα: Ἵδρυμα Βυζαντινῆς Μουσικολογίας τῆς Ἱερᾶς Συνόδου τῆς Ἐκκλησίας τῆς Ἑλλάδος.
_____ (2010) «Ἀπὸ τὴν ἱστορία τῆς Νεοελληνικῆς Ψαλτικῆς Τέχνης: Ζαφείριος Ζαφειρόπουλος ὁ Σμυρναῖος», στὸ Α΄ Ἐπιστημονικὸ Συμπόσιο τῆς Νεοελληνικῆς Ἐκκλησιαστικῆς Τέχνης. Πρακτικά. Σελ. 677-718. Ἀθήνα: Ἐθνικὸ καὶ Καποδιστριακὸ Πανεπιστήμιο Ἀθηνῶν-Θεολογικὴ Σχολή-Τμῆμα Θεολογίας.
_____ (2010) «Κ. Ἀ. Ψάχος: Ὁ ἄνθρωπος, ὁ διδάσκαλος, ὁ μουσικός, ὁ ἐπιστήμων. Πρόδρομη ἀνακοίνωση», Μουσικὸς Λόγος 9:105-22.
_____ (2009) «Ψαλτικὲς “οἰκογένειες”. Α΄: Οἱ Ραιδεστηνοί», στὸ Byzantine Musical Culture. First International Conference-Greece 2007. With the organizational collaboration and support of the European Art Center (EUARCE). Σελ. 157-209. Παιανία: American Society of Byzantine Music and Hymnology (ASBMH) - EUARCE.
_____ (2008) «Ἕνας πρώιμος “doctor polyeleorum”: Ἰωάσαφ ἱερομόναχος ὁ Διονυσιάτης», Μελουργία. Μελέτες Ἀνατολικῆς Μουσικῆς. Ἐπιστημονικὴ Περιοδικὴ Ἔκδοση 1.1:83-104.
_____ (2003) «Σημειώματα Κ. Ἀ. Ψάχου ἐπὶ τῶν ἐντύπων μουσικῶν ἐκδόσεων τῆς βιβλιοθήκης του. Α'. 1820-1882», στὸ Εὐστάθιος Μακρῆς (ἐπιμ.) Οἱ δύο ὄψεις τῆς ἑλληνικῆς μουσικῆς κληρονομιᾶς. Ἀφιέρωμα εἰς μνήμην Σπυρίδωνος Περιστέρη. Πρακτικὰ τῆς μουσικολογικῆς συνάξεως ποὺ πραγματοποιήθηκε στὶς 10 καὶ 11 Νοεμβρίου 2000 στὸ Μέγαρο τῆς Ἀκαδημίας Ἀθηνῶν. Σελ. 103-50. Ἀθήνα: Ἀκαδημία Ἀθηνῶν-Δημοσιεύματα τοῦ Κέντρου Ἐρεύνης τῆς Ἑλληνικῆς Λαογραφίας ἀρ. 18.
_____ (2002) «Περὶ τὴν καταλογογράφηση τῶν μουσικῶν χειρογράφων τῆς νησιωτικῆς Ἑλλάδος», Μουσικολογία. Περιοδικὴ ἔκδοση μουσικῆς θεωρίας καὶ πράξης 16:143-70.
_____ (2002-3) «“Ἀκρίβεια κατ' ἐρώτησιν καὶ ἀπόκρισιν τῶν τόνων τῆς παπαδικῆς τέχνης”. “Θεολογικὴ” ἀνάγνωση τῆς ὁμωνύμου μεταβυζαντινῆς θεωρητικῆς συγγραφῆς», Ἐπιστημονικὴ Ἐπετηρὶς τῆς Φιλοσοφικῆς Σχολῆς τοῦ Πανεπιστημίου Ἀθηνῶν 34:195-231.
_____ (2001) «Ἡ θεωρητικὴ σπουδὴ τῆς ψαλτικῆς τέχνης· ἀπόπειρα διαχρονικῆς προσεγγίσεως», στὸ Ἀχιλλεὺς Γ. Χαλδαιάκης (ἐπιμ.), Θεωρία καὶ Πράξη τῆς Ψαλτικῆς Τέχνης. Πρακτικὰ Α' Πανελληνίου Συνεδρίου Ψαλτικῆς Τέχνης (Ἀθήνα, 3-5 Νοεμβρίου 2000). Σελ. 141-67. Ἀθήνα: Ἵδρυμα Βυζαντινῆς Μουσικολογίας τῆς Ἱερᾶς Συνόδου τῆς Ἐκκλησίας τῆς Ἑλλάδος.
_____ (2000) «Συνοπτικὴ θεώρηση τῆς ἑλληνικῆς ψαλτικῆς τέχνης. (Μὲ ἀφορμὴ τὰ ἀποκείμενα στὴν Ἄνδρο μουσικὰ χειρόγραφα)», στὸ Προβλήματα καὶ προοπτικές τῆς ἑλληνικῆς μουσικῆς. Πρακτικὰ συμποσίου ἑλληνικῆς μουσικῆς. Ἀρχαία-Βυζαντινή-Παραδοσιακή-Νεώτερη. Ἄνδρος, 28-29 Αὐγούστου 1999. Σελ. 51-111. Ἀθήνα: Σύλλογος ἁπανταχοῦ Ἀποικιανῶν Ἄνδρου - Μουσικὸς Ἐκδοτικὸς Οἶκος Παπαγρηγορίου-Νάκας.
Page URL with full list of publications
http://publicationslist.org/achilleas-chaldaeakes
http://uoa.academia.edu/AchilleasChaldaeakes
Personal Site
https://www.achilleaschaldaeakes.gr
Artistic Activity
Achilleas Chaldæakes is the director of an artistic group of international renown, the choir “The Maestros of the Psaltic Art”. With this choir he has given, up to the present day, more than 400 performances in Europe, Asia, America and Australia and has appeared in many radio and TV shows in Greece and abroad. “The Maestros of the Psaltic Art” has performed at famous concert halls all over the world, but also at many sacred Byzantine monuments on the occasion of various festivities or anniversaries. Furthermore, “the Maestros of the Psaltic Art” has recorded, up to the present day, 25 CDs. As a choir director, Achilleas Chaldæakes has an international career: several choral ensembles, Byzantine or otherwise, invite him as a guest director, and his successful performances have received substantial praise. He also is an internationally recognized chanter, i.e. an artist-performer of Byzantine Music. He chants regularly in a church, but also in various religious and artistic events both in Greece and abroad, where he is frequently being invited as a chanter. Finally, he has recorded, alone or with various ensembles, often under his own direction, Byzantine hymns – several of them were discovered by himself in the frame of his parallel academic research – or even musical examples of Secular or Folk Music and compositions of Contemporary Music as well.
YOUTUBE PLAYLISTS
http://www.youtube.com/playlist?list=PL220DA1CBC56C814C
http://www.youtube.com/playlist?list=PLB65889676CC3D40E&feature=mh_lolz
SOUNDCLOUD
https://soundcloud.com/user-352872266
MIXCLOUD
https://www.mixcloud.com/achilleas-chaldaiakis/
