SENTIAMOCI A PARMA 2019 – connecting ears! – Eartraining Workshop & Forum – 21/24-01-2019

SENTIAMOCI A PARMA 2019 – connecting ears! – Eartraining Workshop & Forum – 21/24-01-2019

SENTIAMOCI A PARMA 2019

connecting ears!

Eartraining Workshop e Forum

5th edition

Parma, Conservatorio “Arrigo Boito”

Auditorium del Carmine

21-22-23-24 January 2019


Per Bundgård

THE ROYAL DANISH ACADEMY OF MUSIC – COPENHAGEN (DK)

Erik Højsgaard

THE ROYAL DANISH ACADEMY OF MUSIC – COPENHAGEN (DK)

Violaine de Larminat

UNIVERSITÄT FÜR MUSIK UND DARSTELLENDE KUNST  – WIEN (AT)

László Norbert Nemes

LISZT ACADEMY / KODALY INSTITUTE – BUDAPEST (HU)

Cécile Peyrot

CONSERVATORIO DI MUSICA “N. PAGANINI” – GENOVA (IT)

Peter van Tour

NORGES MUSIKKHØGSKOLE – OSLO (NO)

Laura Zerpa

CONSERVATORIO SUPERIOR DE MÚSICA DE CANARIAS – LAS PALMAS (ES)

INTERNATIONAL WORKSHOP AND FORUM

Since 2015, every year at the end of January, Ear Training teachers and students from different European countries convene in Parma for a four days meeting, to hold and receive ear-training lessons, for mutual observation and discussion. Teachers can participate under the frame of the Erasmus+ Programme and both mobilities for teaching and training are possible, depending on the teachers’ activities during the meeting and their nationality. Italian teachers can benefit of a contribution from their home institution for their training period. During a four-year span, Sentiamoci a Parma has involved many international teachers who have come to know work and methodologies of colleagues from different countries. A network of excellence all over Europe and beyond has been created this way, involving 18 different countries and connecting experts in the sector with a remarkable dissemination of good practices and a sense of belonging to Europe.

The program of the workshop involves real lessons in several groups of students of our Conservatorio (from pre-academic to Master degree) held by the participating teachers in Italian or in English and translated (in English or in Italian) for the audience.

TIMETABLE

Monday, January 21st 2019

9,45 opening

10,00 - 11,20 Timbral perception (part 1)Violaine de Larminat

11,30  - 12,50 Rhythm as an essential part of eartraining lessons (part 1) – Erik Højsgaard

break for lunch

14,30 - 15,50 From sound to ear and to notation (basic pre-academic students) – Cécile Peyrot

16,00 - 17,20 Reflections on Italian Eighteenth-century practices: Musicianship skills and harmonic awareness – Peter van Tour

17,30 - 18,50 Reflections on Italian Eighteenth-century practices: Eartraining through Partimenti – Peter van Tour

19,00 end of session

Tuesday, January 22nd 2019

10,00 - 11,20 Style-based approach to the development of musicianship – László Norbert Nemes

11,30  - 12,50 Rhythm as an essential part of eartraining lessons (part 2) – Erik Højsgaard

break for lunch

14,30 - 15,50 Singing activities as the core of eartraining lessons (part 1)  – Laura Zerpa

16,00 - 17,20 From sound to ear and to notation (advanced pre-academic students) – Cécile Peyrot

17,30 - 18,50 Timbral perception (part 2)Violaine de Larminat

19,00 end of session

Wednesday, January 23rd 2019

10,00 - 11,20 Deconstruction and reconstruction of music: teaching a Chanson by Gabriel Fauré in the music theory class – László Norbert Nemes

11,30  - 12,50 Timbral perception (part 3) – Violaine de Larminat

break for lunch

14,30 - 15,50 The ultimate formula for effective learning processes in eartraining: mind setting the students and teaching them to teach themselves (part 1) – Per Bundgård

16,00 - 17,20 Timbral perception (part 4) – Violaine de Larminat

17,30 - 18,50 Forum - Presentation of books and methods

19,00 end of session

Thursday, January 24th 2019

10,00 - 11,20 The ultimate formula for effective learning processes in eartraining: mind setting the students and teaching them to teach themselves (part 2) – Per Bundgård

11,30  - 12,50 Rhythm as an essential part of eartraining lessons (part 3) – Erik Højsgaard

break for lunch

14,30 - 15,50 The process of developing harmonic hearing according to the Kodály Concept – László Norbert Nemes

16,00 - 17,20 Singing activities as the core of eartraining lessons (part 2) – Laura Zerpa

17,30 end of Workshop/Forum

CONTACTS AND REGISTRATION

Since we strongly believe in sharing ideas and connecting people, Sentiamoci a Parma is free and open to anyone concerned. International teachers may attend the workshop as Training mobility (STA or STT) within the Erasmus+ program: please refer to your International relationships office for further details or get in touch with us for more info. If you are interested in attending Sentiamoci a Parma, please send an email by January 19th 2019 to: fabio.ferrucci@conservatorio.pr.it

TEACHERS

Per Bundgård was born in 1973 and studied piano, music teaching and ear training pedagogics at the Royal Danish Academy of Music in Copenhagen.
Since 2007 he has been assistant professor teaching ear training and music pedagogics at the Royal Danish Academy of Music, and since 2009 he has been Head of the Music Teachers Department.
Per Bundgård has also worked for many years as a choir conductor and children's choir conductor in both Denmark and South America.
In his professional working life, he has taught at all levels, in all age groups and has a musical background that covers both classical and popular music.

 

Erik Højsgaard was born in 1954. He is a composer and professor in ear training of the Royal Danish Academy of Music in Copenhagen. He studied composition with Per Nørgård at the Royal Academy of Music in Aarhus and completed his studies with a diploma degree in 1978. He studied aural training at the Royal Danish Academy of Music and completed the study with music pedagogy diploma degree. Since 1982 he has taught aural training at the Royal Danish Academy of Music - from 1988 as an associate professor and since 2002 as professor. He is author of a textbook, Rhythm - advanced studies, which was published in 2016. In 2003-2004 he was Aalborg Symphony Orchestra resident composer and teacher of composition at the Royal Academy of Music. Højsgaard began composing seriously in his final years at school. His early works are distinctly lyrical, rhythmically subtle and sophisticated in sound, with extensive use of weak dynamic nuances, micro-intervals and harmonics. Examples of this are his breakthrough work Sun Prisms for string quartet (1974). In the 1980s the Expressionism of Alban Berg was a further source of inspiration, among other things for the opera Don Juan kommt aus dem Krieg, which was premiered in Vienna in 2006 in a revised version. His output also includes 2 symphonies, a cello concerto and a piano concerto. He composed Fragment for sinfonietta in 1995 for the Malko Conductors' Competition. He has also composed chamber music (including two string quartets and a variety of landscape pictures, including Paysage blême, which was first performed in London by the British ensemble Capricorn) and works for solo instruments, including C'est la mer Mêlée au soleil for guitar and recently a series of piano pieces. His works have been performed in most parts of the world, and he has been represented at several international festivals: ISCM World Music Days, the Salzburg Festival, Nordic Music Days, NUMUS, Festival Internazionale di Musica Roma, MusicSommerBerlin, Cantiere Internazionale d'Arte Montepulciano, Copenhagen Summer Festival etc.
He has received several awards, including the Carl Nielsen and Anne Marie Carl-Nielsen's Honorary Award in 1993, Danish Arts Foundation's three-year scholarship in 1979, the Danish Composers' Society Scholarship in 1992, and the Hakon Børresen Fund’s Prize in 2014.

Violaine De Larminat was born in Orléans (France) where she started studying organ, piano, ear training and chamber music. Then she was admitted at the Conservatoire de Paris (CNSMP) where she studied harmony, counterpoint, fugue and analysis, concurrently with Musicology at the Sorbonne where she graduated in 1993.
In 1992 she got in Paris the pedagogical teaching diploma for Music theory and ear training. Then she moved to Wien, where she studied at the MDW, graduating in Catholic Church Music and Organ. Since 1995 she teaches at MDW solfege, eartraining and analysis for composers, conductors and sound engineers. Many concerts as organist in several countries; masterclasses in Germany, Italy and Slovenja and other European countries; forums in Holland and Belgium; publications about eartraining in Austria, Germany and Russia; jury member in Slovenja and France.

 

Dr. habil. László Norbert Nemes is currently professor at the Liszt Ferenc Academy of Music in Budapest and director of the International Kodály Institute of the Liszt Academy. His main areas of expertise are the theory and the practice of the Kodály Concept, musicianship training according to the Kodály Concept, choral conducting and choral music education. 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. Besides teaching at the Liszt Academy he maintains an active career as a choral conductor. Since September 2014 he has been artistic director of the New Liszt Ferenc Chamber Choir, the artist-in-residence choral ensemble of the Liszt Academy. In 2018 he founded the National Youth Choir of Hungary. For twelve years he worked as the associate conductor of the Hungarian Radio Children's Choir. László Nemes has conducted, taught, held workshops, master classes and seminars all across Europe, in Australia, Brazil, Canada, the People’s Republic of China, Indonesia, Japan, the Korean Republic, Malaysia, The Philippines, Republic of China/Taiwan, Singapore and the United States of America several times. He is guest professor at the Central Conservatory of Music in Beijing, China. In recognition of his artistic activities he received the Bartók-Pásztory Award in 2005. In March 2017 he was decorated with the Golden Cross of the Hungarian Cross of Merit. He is vice president of the International Kodály Society, patron of music education at National Youth Choir of Scotland, and honorary member of the British Kodály Academy.

Cécile Peyrot started studying piano and cello when she was a child; at Conservatoire National Supérieur Musique et Danse de Lyon (FR) she was awarded the “Diplôme de Formation musicale” in 1980 and First medal cum laude in 1981, the highest level in Solfege and Music Theory, qualifying for teaching of this discipline at French Conservatories. She also studied Choir conducting at Institut de Musique Sacrée de Lyon and started working as conductor of the Children’s Choir in St-Cyr au Mt-d’Or (FR). After moving to Italy, she was awarded the Cello diploma at Conservatorio “G. Verdi” in Turin and studied Chamber music with R. Filippini, M. Dancila and D. de Rosa. In 1999 she was a winner in the national ordinary competition for Chamber music. Cécile is committed in didactic innovation for music teachers and gave retraining courses for Provveditorato agli Studi di Torino. She has been playing cello for years in symphonic orchestras and nowadays mainly plays as a soloist and in chamber music ensembles. She premiered in Europe “Ars poetica” by John Eaton, at American Academy in Rome and cooperated with Orchestre de la Garde Républicaine de Paris as solo cello player. After recording music for RAI, Optimes and Dynamic, since several years she has been specializing in Italian baroque cello repertoire from XVII and XVIII century and co-founded the ensemble Estro Barocco. She has been working for years as a French lecturer and nowadays she is a member of Associazione Italiana traduttori ed interpreti, affiliated to Fédération Internationale des Traducteurs (Unesco). Eartraining professor at Institut Régional de Musique de la Vallée (Aosta), at Conservatorio Statale di Musica “G. F. Ghedini” in Cuneo and, since 2009, at Conservatorio Statale di Musica “N. Paganini” in Genoa, where she is also Theoretical subjects Department Coordinator. She is the author of many eartraining books, like “Il setticlavio applicato al repertorio musicale”,  “La lettura applicata al repertorio musicale” (two volumes) and “Ascoltare per comprendere” (Progetti sonori).

Peter van Tour is associate professor in aural training at the Norwegian Academy of Music in Oslo. As a musicologist he has specialized in the pedagogical traditions of the Neapolitan conservatories, particularly in the late eighteenth century. He has received master degrees in music pedagogy from Fontys University (MA), in musicology from the University of Utrecht, and in music theory from the Royal College of Music in Stockholm (MA).
Peter’s PhD dissertation Counterpoint and Partimento (Uppsala 2015) highlights the practical teaching strategies at the Neapolitan Conservatories during the late eighteenth century. In 1995, Peter co-founded the Gotland School of Music Composition, where he taught Music Theory between 1995 and 2014.
Peter’s current research focusses on Giovanni Battista Martini’s teaching of counterpoint and composition between ca. 1735 until his death in 1784.

Laura Zerpa Santana accomplishes in her hometown, Las Palmas de Gran Canaria, the higher studies of Piano, Harmony, Counterpoint and Fugue, as well as Solfeggio, Music Theory, Transposition and Accompaniment. After obtaining an important two-year scholarship from the Ministry of Foreign Affairs, she completed her musical studies in Hungary, as a Piano student at the Liszt Academy in Budapest and as a Musical Pedagogy student at the Kodály Institute, in Kecskemét. On her return to the island, she worked as a teacher and repertorist of the choirs in the Academy of the Philharmonic Orchestra in Gran Canaria, also collaborating as a contralto in the Orchestra Choir. In 2003, she started teaching at the Professional Conservatory of Las Palmas, in the departments of Piano and Musical Language. Since 2005, she specialized as a teacher of Auditory Education at the Conservatorio Superior de Música de Canarias, dedicating years of research on it, with the aim of improving the level of this subject in the Curriculum of the Higher Artistic Teachings in the islands, obtaining her doctorate in 2016 at the University of Las Palmas de Gran Canaria. In 2015, she participated as a speaker at the II National Congress of Superior Conservatories of Music, organized in Madrid by the Society for Music Education of the Spanish State. In recent years she has given various Auditory Education workshops both on the island and internationally, at Institutions such as the Music Academy of Poznan (Poland) and Malmö (Sweden). In Sweden she also collaborated with several music education Institutions and in 2017 she participated as first speaker in the Symposium of Musical Theory organized by the Musik Teori Forum, held in the south of the country. At the beginning of 2018 she attended for the first time "Sentiamoci a Parma". She is currently working on her book about Auditory Education, based on her experience at the Kodály Institute, focused on singing as the core part of musical learning, combining it with a conscious work of adapting the subject to the real context of the students.

LINKS

How to reach us

http://www.conservatorio.pr.it/en/dove-siamo/

Getting there - practical info

Accommodation

http://www.conservatorio.pr.it/accommodation/

http://turismo.comune.parma.it/en?set_language=en