Sentiamoci a Parma 2018. Eartraining Workshop & Forum – 24/27-01-2018
SENTIAMOCI A PARMA 2018
Eartraining Workshop and Forum
Parma, Conservatorio “Arrigo Boito”
24-25-26-27 January 2018
EESTI MUUSIKA- JA TEATRIAKADEEMIA – TALLINN (EE)
Sofia Martinez Villar
ESCOLA SUPERIOR DE MÚSICA DE CATALUNYA – BARCELONA (ES)
MUSIK-AKADEMIE – BASEL (CH)
Laszlo Norbert Nemes
LISZT ACADEMY / KODALY INSTITUTE – BUDAPEST (HU)
CONSERVATORIO “G. VERDI” – MILANO (IT)
HOCHSCHULE FÜR MUSIK UND THEATER – HAMBURG (DE)
INTERNATIONAL WORKSHOP AND FORUM
Since several years Conservatorio “A. Boito” is committed to didactic innovation applied to eartraining and music formation. Enabling Jazz and Pop curricula, adopting new methods and media for teaching and renewing programs for pre-academic courses are some examples of this work-in-progress experience. The Workshop and Forum “Sentiamoci a Parma” develops in this frame with a dual aim: to gather in a single event eartraining teachers from different italian and european institutions (and experiences) and to act as an occasion for discussion about several modi operandi. Without underestimating thoretical and pedagogical facts, we believe that the practical experience, lived through the concreteness of the real lesson, can become the core of eartraining debate and renewal.
For these reasons, the program of the four days involves real lessons in several groups of students of our Conservatorio (from pre-academic to Bachelor degree) held by the participating teachers. Eartraining teachers attending the re-training course SONO held by Alberto Odone at Scuola Musicale di Milano will participate in Sentiamoci a Parma as a part of their course program. During the last day of the Workshop a debate will take place, intended as an opportunity for discussion and exchange of experiences and opinions. Lectures will be held in Italian or English and translated for the audience.
Wednesday, Jan 24th
10,00 - 11,20 Ruta Paidere: Developing of harmonical eartraining for singers
11,30 - 12,50 Renè Eespere: Eartraining for singers (part 1/2)
break for lunch
14,30 - 15,50 László Norbert Nemes: Introduction to Béla Bartók's compositional style (part 1/2)
16,00 - 17,20 Ruta Paidere: Eartraining as a game
17,30 - 18,50 Adrian Mears: Jazz harmonic eartraining (part 1/3)
19,00 end of session
Thursday, Jan 25th
10,00 - 11,20 László Norbert Nemes: Introduction to Kodály system
11,30 - 12,50 Ruta Paidere: Working with music of 20th century. Some methods and ideas
break for lunch
14,30 - 15,50 Sofia Martinez Villar: Who's afraid of musical dictation? Exercises and strategies for a successful approach
16,00 - 17,20 Renè Eespere: Post-tonal eartraining for composers and conductors (1/2)
17,30 - 18,50 Alberto Odone: "La follia" and other minor progressions
18,50 end of session
Friday, Jan 26th
10,00 - 11,20 Renè Eespere: Post-tonal eartraining for composers and conductors (2/2)
11,30 - 12,50 Adrian Mears: Jazz harmonic eartraining (part 2/3)
break for lunch
14,30 - 15,50 László Norbert Nemes: Introduction to Béla Bartók's compositional style (part 2/2)
16,00 - 17,20 Adrian Mears: Jazz harmonic eartraining (part 3/3)
17,30 - 18,50 Sofia Martinez Villar: Which kind of musical ear do I have and how can I improve it?
19,00 end of session
Saturday, Jan 27th
10,00 - 11,20 Sofia Martinez Villar: I like this, I don't like that! What attracts our musical ear?
11,30 - 12,50 Renè Eespere: Eartraining for singers (part 2/2)
break for lunch
14,30 - 15,50 Alberto Odone: Eartraining methodologies and perspectives
16,00 - 17,30 FORUM
17,30 end of session
CONTACTS AND REGISTRATION
Sentiamoci a Parma is free and open to anyone concerned. International teachers may attend the workshop as Training mobility (STT) within the Erasmus+ program: please refer to your International relationships office for further details. If you are interested in attending the workshop, please send an email by January 22nd 2018 to: firstname.lastname@example.org
René Eespere was born in Tallinn in 1953. Since 1979 he is a Composition and Music theory teacher at the Estonian Academy of Music and Theatre, since 2002 a professor.
During the 1980s R. Eespere wrote a number of vocal-symphonic works with an ethical and existential message (Passiones, Mysterium, Mediterium). Eespere´s Latin works – Two Jubilations, Glorificatio, De amore aeterno, Festina lente, Ritus, Origo originum have been performed in churches and cathedrals of Germany, France, Italy, Hungary, Norway, Denmark, Sweden, Finland, Croatia and Spain. During the last 20 years instrumental concertos and chamber pieces have been born out of orders from both Estonian and foreign interpreters and chamber ensembles. In 2006 his opera „Gourmets“ premiered in the Estonian National Opera. The majority of Eespere´s works have been published by Eres Edition, Antes, edition 49, Verlag Neue Musik Berlin, Estonian Record Productions and Edition Eisenberg. There have been 12 personal collections of Eespere´s music released in Germany and Estonia. His music has also been included on a number of compilation records. He has written and published “Prima vista?” and “Prima volta?” (with 6 CD-s) – ear training textbooks for musicians.
Orders and decorations:
the Annual Estonian Music Award (1989)
the 4th class Order of the White Star of Estonia (2001)
the Life and Shine award of the Cultural Endowment of Estonia (2001-2002)
Riho Päts School Music Foundation Stipend (2004)
award of composition of the Cultural Endowment of Estonia (2008)
award of composition of the Estonian Music Council (2011)
Sofía Martínez Villar is an ear training specialist, flutist, musicologist and Phd in Arts history, theory and critics. She has studied at Valladolid University, Barcelona University, Institute of Musical Reseach (London University) and Salamanca Superior Conservatoire. In recent years her interest has lain mainly in Ear Training research and contemporary chamber music as a member of the Ensemble Gaudi. She teaches Ear Training and Flute repertoire at the Escola Superior de Música de Catalunya since 2002 and holds seminars about Ear Training across Spain and Italy. She has been associate teacher (2006-2009) in the Music section of the Art History department in the University of Barcelona. Sofía is writing a book about Ear Training and Aural analysis and developing a test to identify the different characteristics of musical ear.
Adrian Mears was born in 1969 in Australia and has been welcomed in Europe since his arrival in 1991. Already in Australia he was nominated as "best Australian Trombonist" receiving awards not only for composition but as well his quintet "Free Spirits" "Best Jazz Group 1990". After studying privately in New York with the likes of Robin Eubanks, Steve Turre`, Conrad Herwig and Slide Hampton he decided to move to Europe where he quickly established himself as one of the strongest voices on Trombone in the European scene. Mears`s career is already distinguished by performance and recording credits alongside the likes of the Vienna Art Orchestra (9 years), Kenny Wheeler, Bob Brookmeyer New Art Orchestra, McCoy Tyner`s Big Band, the NDR big band with Tim Hagans, Bobby Shew, James Morrison, Trombonefire, Don Pullen, Eddie Palmeri, Charlie Mariano, Mark Soskin, Paquito DiRivera, Klaus Doldinger, Jeff Williams, Adam Pieronczyk, Joey Calderazzo, Peter O`Mara, Ronnie Burrage, Peter Herboltzheimer, Conexion Latina, Carla Bley, Steve Swallow, Don Friedman etc.
He was a member of the international sextet Ugetsu which recorded 4 Cds, many fo his compositions, with 200 performances throughout Europe and festivals in China, Australia... A long list of recording credits among his own which can be found on the ENJA label or on the Blue Note Label together with the Scales Brothers. Performed at German jazz festivals Nürnberg-Jazz Ost West, Berlin, Burghausen, Moers, St. Ingbert or in Holland (North Sea), Russia (Moscow, Kiev), Poland, Switzerland (Montreux, Zürich Jazz No Jazz, Basel Off Beat), Belgium, France, Greece, Norway, Indonesia, Canada, Sydney, China, Bulgaria, South Africa (Capetown & Grahamstown) etc..
Mears has received composing commissions for diverse settings such as Bach, Blech & Blues (Classical Brass Ensemble), Suite for Didgeridoo and Chamber Orchestra with jazz trio and wind ensemble, Travel Documentary for Australian T.V, 60 piece Choir, Big Band.. etc.
Has been teaching in Mannheim conservatorium for 10 years, as well as 2 years in Cologne Conservatorium and is currently Professor at the Basel Musik Academie (Switzerland) for Trombone and Ear Training for the last 17 years
László Norbert Nemes is a professor of the Liszt Ferenc Academy of Music in Budapest and director of the International Kodály Institute of the Liszt Academy. He holds a doctoral degree from the University of Alberta (Canada) and a habilitation certification from the Liszt Academy of Music. His main areas of expertise are teaching solfege and music theory according to the Kodály concept and choral music education. Since September 2014 he has been artistic director of the New Liszt Ferenc Chamber Choir, artist-in-residence ensemble of the Liszt Academy. For twelve years he worked as the associate conductor of the Hungarian Radio Children's Choir. In recognition of his artistic activities he received the Bartók-Pásztory Award in 2005. As a music pedagogue and conductor, Dr. Nemes has held workshops, master classes and seminars in Australia, Brazil, Canada, the People’s Republic of China, Finland, Greece, Indonesia, Ireland, Italy, Japan, the Korean Republic, The Netherlands, The Philippines, Poland, Portugal, Romania, Republic of China/Taiwan, Singapore, Slovenia, Switzerland, Turkey, the United Kingdom and the United States of America several times. Since 2012 he has been guest professor and academic consultant at the Central Conservatory of Music in Beijing, China. His most recent publications include a chapter on choral music education according to the Kodály concept in the Oxford Handbook of Choral Pedagogy published by Oxford University Press in 2017. Guest professor at the Royal Academy in The Hague, Holland and at the Singapore Teachers’ Academy for the Arts in Singapore. Leader of the joint research programme of the Hungarian Academy of Sciences and the Liszt Ferenc Academy of Music “Active Music Learning with Singing and Movement” aiming at further enriching Hungarian music educational programmes both at primary and secondary levels. Vice President of the International Kodály Society. President of the Klára Kokas Foundation. Patron of Music Education, National Youth Choir of Scotland. Honorary member of the British Kodály Academy. In March of 2017 he was awarded the prestigious Golden Cross of the Hungarian Cross of Merit.
Alberto Odone's main field of interest is the Pedagogy of Musical Listening. From the very beginning of his activity, he put together both teaching and researching, trying to overcome the delay of the italian situation in this field. Sources of his work are: studies in Musical Theory and Psychology, the direct experimentation and a multi-faceted relation with the international context. This has been carried out by periods of studies abroad (in France, Germany and by the International Kodàly Institute of Kecskemét, Hungary) and a subsequent intense teaching activity, with more than 70 courses given in Spain, Germany, Switzerland, Sweden, Finland and Latvia, and in a number of italian institutions.
The outcomes of this activity are shown in a number of articles on specialized journals and books published by Ricordi, Curci (Milan) and Rivera/Impromptu (Valencia, Spain). He teaches at Conservatorio "G. Verdi" in Milan and cooperates with the Italian Ministry of Education, University and Research with courses for Music High School teachers of Theory, Analysis and Composition. He conducts the Chanson d'Aube Vocal Group of Milan, giving concerts in Italy and abroad.
Ruta Paidere was born in Latvia in 1977 and acquired her primary musical education at the local music school. In 1992 she was admitted to the Music Theory Department of Riga Jāzeps Mediņš Music College and in 1998 – to the Hamburg University of Music and Theatre, initially studying composition with Peter Michael Hamel. In 2003 she honed her composition skills at Dartington College of Arts in Great Britain and in 2005 was admitted to the piano class of Prof. Volker Banfield at the Hamburg University of Music and Theatre. Ruta’s compositions have been performed across Europe, Israel and the USA, in various concert series as well as at such music festivals as Musica in Strasbourg, Tenso Days in Berlin, Schleswig-Holstein Musikfestival in Northern Germany, Arēna festival in Riga, and others.
She has been commissioned to write opuses for various institutions, including the contemporary music masterclasses Akademie OPUS XXI, Bavarian Academy of Arts/Ernst von Siemens Music Fund, Cologne Radio, Latvian Radio Choir vocal group and chamber orchestra Sinfonietta Rīga. Since 2007 she teaches music theory at the Hamburg University of Music and Theatre and at the Hamburg Conservatory. Ruta has received scholarships from the culture funds Oscar und Vera Ritter Stiftung and Pro Musica Viva Stiftung. In 2003 she was the recipient of the DAAD (Deutscher Akademischer Austauschdienst) Award for foreign students in Germany. In 2005 she received the Hermann and Annemarie Rauhe Contemporary Chamber Music Award and in 2007 – the Bach Award-Scholarship of Hamburg City. In 2012 her composition Tempera was nominated for the Latvian Great Music Award as the Best New Composition of the Year.
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