Wind instruments ensembles: Theory and practice II
| Title | Σύνολα πνευστών οργάνων: Θεωρία και πράξη ΙΙ / Wind instruments ensembles: Theory and practice II |
| Code | ΜΠ2016 |
| Faculty | Fine Arts |
| School | Music Studies |
| Cycle / Level | 1st / Undergraduate |
| Teaching Period | Winter/Spring |
| Coordinator | Georgios Sakallieros |
| Common | No |
| Status | Active |
| Course ID | 600023098 |
Programme of Study: PPS Tmīmatos Mousikṓn Spoudṓn (2017-sīmera)
Registered students: 2
| Orientation | Attendance Type | Semester | Year | ECTS |
|---|---|---|---|---|
| Musicology / Music Education | Elective Courses | 6 | 3 | 4 |
| Music Composition | Elective Courses | 6 | 3 | 4 |
| Academic Year | 2025 – 2026 |
| Class Period | Spring |
| Instructors from Other Categories |
|
| Weekly Hours | 3 |
| Total Hours | 39 |
| Class ID | 600291741
|
Course Type 2021
Specific Foundation
Mode of Delivery
- Face to face
Digital Course Content
- e-Study Guide https://qa.auth.gr/en/class/1/600291741
Language of Instruction
- Greek (Instruction, Examination)
- English (Instruction, Examination)
- German (Instruction, Examination)
Prerequisites
General Prerequisites
The students must possess a medium level of skill in wind instruments' performance with emphasis to the flute.
Learning Outcomes
The main aim of the wind ensembles course will be to promote the development of interaction and effective collaboration among students within the Department, but also to function as an aid to the preparation of the students who participate in the AUTH Symphony Orchestra. The objectives of the course are the way of organizing rehearsals of each ensemble, the best practices of individual study of the musicians, as well as the resolution of individual technical and interpretive issues, e.g. orthotony and synchronization.
In these ensembles the musical performance will not be limited purely to the teaching, preparation and performance of chamber music works, but also the to osmosis of musical performance with the theory within an epistemological musicological framework. The study and critical commentary of historical themes and aspects of style, the approach to aesthetic issues of the music of specific periods and styles, as well as the historically documented interpretation, regarding the selected works, in relation to the constructional evolution of wind instruments, will undoubtedly contribute to the deeper understanding of the historical and aesthetic context of the repertoire and evolution of wind instruments
General Competences
- Apply knowledge in practice
- Make decisions
- Work autonomously
- Work in teams
- Appreciate diversity and multiculturality
- Demonstrate social, professional and ethical commitment and sensitivity to gender issues
- Be critical and self-critical
- Advance free, creative and causative thinking
Course Content (Syllabus)
Τhe present course aims at combining music performance in wind ensembles with historical and theoretical issues, integrated into a musicological framework. Students are guided towards a critical study of historical and stylistic subjects referring to the selected works along with a familiarization to the instrumental development of the wind instruments. They are expected to broaden their general knowledge about the repertory of wind instruments and to deeply understand the historical background of the selected works that will be presented in a public concert at the end of the semester. The course also includes an introduction to mental training practices, a useful tool for performers, which may lead them to more conscious interpretative approaches.
Keywords
wind instruments, flute, music ensembles, repertory, technique, performance, aesthetics, musicological approach, mental training
Educational Material Types
- Notes
- Audio
- Multimedia
- Interactive excersises
- Music scores
Use of Information and Communication Technologies
Use of ICT
- Use of ICT in Course Teaching
- Use of ICT in Communication with Students
Course Organization
| Activities | Workload | ECTS | Individual | Teamwork | Erasmus |
|---|---|---|---|---|---|
| Lectures | 15 | 0.5 | ✓ | ✓ | |
| Laboratory Work | 15 | 0.5 | ✓ | ✓ | ✓ |
| Reading Assigment | 15 | 0.5 | ✓ | ✓ | ✓ |
| Artistic Workshop | 30 | 1 | ✓ | ✓ | |
| Project | 15 | 0.5 | ✓ | ✓ | |
| Final concert | 30 | 1 | ✓ | ✓ | ✓ |
| Total | 120 | 4 |
Student Assessment
Description
In the final concert, the students will be able to present the works they prepared during the semester, accompanied by an introductory lecture, which they will prepare themselves with material and musicological information for each project, so as to highlight the combination of practice and theory in teaching the semester.
Student Assessment methods
- Performance / Staging (Formative, Summative)
- Labortatory Assignment (Formative, Summative)
- Artistic Performance (Formative, Summative)
Bibliography
Course Bibliography (Eudoxus)
1. Glinka Beata Iwona, Εργογραφία για σόλο φλάουτο των Ελλήνων συνθετών: Σημειογραφία και εκτέλεση (Αθήνα: Bookstars, 2013)
2. Γιώργος Κουμεντάκης, Forget me για σόλο φλάουτο (Αθήνα: Κέντρο Ελληνικής Μουσικής, 2011)
Additional bibliography for study
ΒΙΒΛΙΑ / ΒOOKS:
Cook, Nicholas. 2018. Music as Creative Practice. New York: Oxford University Press.
Green, Barry and W. Timothy Gallwey. 2015. The Inner Game of Music. London: Pan Macmillan.
Powell, Ardal. 2002. The Flute. New Haven and London: Yale University Press.
Rink, John (ed.). 1995. The Practice of Performance. Studies in Musical Interpretation. Cambridge: Cambridge University Press.
Schenker, Heinrich. 2002. The Art of Performance. New York: Oxford University Press.
Σμόλ, Κρίστοφερ. 2010. Μουσικοτροπώντας: Τα Νοήματα της Μουσικής Πράξης και της Ακρόασης. Αθήνα: Ιανός.
ΑΡΘΡΑ / ARTICLES
Hill, Peter. 2002. “From Score to Sound”. In Musical Performance: A Guide to Understanding, edited by John Rink, 129-143. Cambridge: Cambridge University Press.
Immonena, Outi, Inkeri Ruokonena and Heikki Ruismäkia. 2012. “Elements of Mental Training in Music”. Procedia – Social and Behavioural Sciences 45: 588-594, https://doi.org/10.1016/j.sbspro.2012.06.596.
Taruskin, Richard. “On Letting the Music Speak for Itself: Some Reflections on Musicology and Performance”. The Journal of Musicology 1 / No. 3 (1982): 338–349. https://doi.org/10.2307/763881
Last Update
14-03-2025
