Sentiamoci a Parma 2020. Eartraining Workshop & Forum – from 22 to 25 January 2020
SENTIAMOCI A PARMA 2020
Eartraining Workshop e Forum
Parma, Conservatorio “Arrigo Boito”
January 22-23-24-25, 2020
RECAPO EDITION (SE)
HOCHSCHULE FÜR MUSIK FHNW/MUSIK-AKADEMIE – BASEL (CH)
THE ROYAL DANISH ACADEMY OF MUSIC – COPENHAGEN (DK)
CONSERVATOIRE ROYAL – BRUXELLES (BE)
LISZT ACADEMY / KODALY INSTITUTE – BUDAPEST (HU)
Violaine de Larminat
UNIVERSITÄT FÜR MUSIK UND DARSTELLENDE KUNST – WIEN (AT)
professor emeritus ACADEMY OF MUSIC AND DRAMA – GÖTEBORG (SE)
Maria Medby Tollefsen
ARCTIC UNIVERSITY OF NORWAY – TROMSØ (NO)
László Norbert Nemes
LISZT ACADEMY / KODALY INSTITUTE – BUDAPEST (HU)
Gabrielius Simas Sapiega
LITHUANIAN ACADEMY OF MUSIC AND THEATRE – VILNIUS (LT)
professor emeritus NORWEGIAN ACADEMY OF MUSIC – OSLO (NO)
GNESSINS ACADEMY OF MUSIC – MOSCOW (RU)
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 25 different countries and connecting more than 150 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.
Wednesday, January 22nd 2020
9,45 - 10,00 Ice breaking activities – Gro Shetelig
11,30 - 13,00 Polyrhythm training: a body approach – Gro Shetelig
break for lunch
14,30 - 15,20 Matter in Music: Ear training by historical point of view (part 1) – Gabrielius Simas Sapiega
15,30 - 16,50 Original sheet music at the ear-training lessons – Irina Zakharbekova
17,00 - 17,50 Using relative solfa in harmony teaching/1 Functional tonality – Nóra Keresztes
18,00 - 18,50 Horizontal versus vertical (part 1) – Elke Hofmann
19,00 end of session
Thursday, January 23rd 2020
9,15 - 10,05 Aspects of teaching rhythm in Ear training (part 1) – Erik Højsgaard
10,15 - 11,35 When details come in the way before you have grasped the details as part of a larger whole… – Gro Shetelig
11,45 - 12,35 Strategies in teaching changing meters – Maria Medby Tollefsen
break for lunch
14,15 - 15,35 Aware singing aimed to harmony understanding – Gro Shetelig
15,45 - 16,35 Sight singing, Ear training and tonal improvisation with Solfegiciel – Michel Jaspar
16,45 - 17,35 Horizontal versus vertical (part 2) – Elke Hofmann
17,45 - 19,05 Singing, listening and creating: activity-based music theory lesson - The holistic development of musicianship during the music theory lessons – László Norbert Nemes
19,15 end of session
Friday, January 24th 2020
9,15 - 10,35 Student-centered approaches in the teaching of music theory at tertiary level - How to turn music theory into a course with a lasting impact on students’ intellectual and musical growth – László Norbert Nemes
10,45 - 12,05 Messiaen, a “French chapter” in Ear training – Violaine de Larminat
12,15 - 13,05 Methodics in wholetone/atonal singing – Maria Medby Tollefsen
break for lunch
14,45 - 15,35 Aspects of teaching rhythm in Ear training (part 2) – Erik Højsgaard
15,45 - 17,05 Aural-based Music Theory: non-functional harmonic progressions – Bengt Lundin
17,15 - 18,05 Introduction to the Scandinavian numbers methodics – Maria Medby Tollefsen
18,15 - 19,05 Using relative solfa in harmony teaching/2 Modal harmonies – Nóra Keresztes
19,15 end of session
Saturday, January 25th 2020
9,45 - 11,05 The art of making beautiful teaching material: a practical guide – Rode Gustavssohn
11,15 - 12,05 Active work on tonal functions – Michel Jaspar
12,15 - 13,35 Exams and assessments in Ear training– Violaine de Larminat
break for lunch
14,50 - 16,20 Work on intonation during the ear-training lessons – Irina Zakharbekova
16,30 - 17,20 Matter in Music: Ear training by historical point of view (part 2) – Gabrielius Simas Sapiega
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 20th 2020 to: email@example.com
Rode Gustavsson was born in Ekerö just outside of Stockholm. He began playing the violin at the local music school when he was nine and in 2009 he gained a place at the specialist music school, Lilla Akademien in Stockholm, one of the most prestigious music schools in Europe.
In 2016 he received his bachelor degree from the Royal Danish Academy of Music in Copenhagen, having studied violin with Michael Malmgreen. He completed his master degree in Ear training pedagogy there in 2018, having studied with professor Erik Højsgaard and Per Bundgård
As a violinist he has toured the Nordic countries, England, Estonia, Italy, North Macedonia and USA, performed in prestigious concert venues such as Carnegie hall, Chicago symphony hall, in the States, and Berwaldhallen, in Sweden, and participated in radio and TV broadcasts both in Sweden and abroad. His arrangements have been performed in venues worldwide.
In 2018 he founded the publishing house Recapo Edition which aims to produce high quality, error free editions. He also has a position as an ear training teacher at Lilla Akademien teaching foremost children aged 4-10.
Elke Hofmann was born in Groß-Umstadt (Germany) in 1969. She studied music in Freiburg i. Brsg. and in Heidelberg-Mannheim. In Freiburg she was awarded three teaching diplomas: Recorder with A. Dorwarth (1992), Music theory with P. Förtig (1993) and Piano with H. J. Koch (1994).
In Heidelberg-Mannheim she was awarded the Piano concert diploma with C. Back in 1997. 1994-2001 she taught Music theory and Eartraining at the State Music Academy in Karlsruhe and over shorter periods at the Folkwang Hochschule in Essen and at the Hannover University of Music. Since 2001 she teaches Eartraining at the Music Academy in Basel, HSM; 2008-2018 she was coordinator of the Master of Arts in composition and music theory. Since 2018 she is delegate of digitization at the three institutes of HSM. She is the author of many publications and articles about Eartraining and Neurophysiology of perception.
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.
Michel Jaspar is an eclectic musician (pianist, singer, choirmaster, lecturer, director of musical shows) and psychologist, specialized in music cognition.
He’s been teaching for more than 30 years solfège, music theory, harmony, analysis, history of music and choir singing in music schools.
Since 2008 he’s also been teaching choir direction, practical harmony, psychology and music didactics in Higher education institutions, like IMEP in Namur and the Royal Conservatory in Bruxelles.
Nóra Keresztes graduated at the Budapest Liszt Academy of Music as a Secondary School Music Teacher and Choir Conductor (as a student of prof. Valér Jobbágy) and Music Theory Teacher (as a student of Erzsébet Legányné Hegyi and Katalin Komlós) in 1996. She received her DLA degree in 2008. The title of her doctoral thesis is The Dissolution in Functional Tonality.
Between 1996 and 2002 she worked as a fulltime teacher in the Music Secondary School of Pécs. Between 2002 and 2018 she taught at the Faculty of Music and Visual Arts, University of Pécs. From 2016 she has been a guest lecturer at Budapest Liszt Academy of Music, and from 2018 on she is a fulltime associate professor of the Liszt Academy and the Kodály Institute, where she lectures in solfege, music theory and choral conducting.
As a music pedagogue and conductor, she has held workshops, master classes and seminars in Azerbaijan, Denmark, Estonia, Finland, Hong Kong, Italy, Japan, Lithuania and Vietnam.
She is the artistic director and conductor of the chamber choir Cappella Quinqueecclesiensis (Pécs).
She is a choir member of Schola Cantorum Sopianensis (cond.: Valér Jobbágy DLA) and Pannon Philharmonic Festival Choir, Pécs (cond.: András Vass and László Dobos).
She is also musical expert and co-worker of Tanac Cultural Association, Pécs (Artistic director: József Szávai) and a member of the Hungarian Kodály Society and of Association of Choirs and Orchestras (KÓTA).
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.
Born in Stockholm in 1945, Bengt Lundin is a teacher and composer, member of the Swedish Association of Composers.
He received his music education at the Royal College of Music in Stockholm in Music Pedagogy, Counterpoint, Music Theory Pedagogy and Composition.
Since 1974 he has been teacher of Music Theory, including Harmony, Counterpoint, Aural training, Form, Composition and Arranging at the Academy of Music and Drama, Göteborg University, Assistant Professor of Music Theory since 1999, Professor of Music Theory since 2007 and Professor emeritus since 2015.
In 1978 he started up the Composition Program of Composition Seminars at Göteborg University; within the Faculty of Arts of the same institution he has taken part in different artistic research projects such as Intonation, Synestesi etc, in cooperation with other artistic institutions.
Erasmus exchange teacher in Perugia, Verona, Oslo, he organized the HEARUP, Nordic Conference in Aural Skills, Göteborg 2015.
Maria Medby Tollefsen is a Norwegian aural training teacher, working at the Academy of music at the University of Tromsø, where she teaches Aural training to bachelor students and Aural training didactics to the aural training master students.
Besides teaching aural training, she is also engaged in conducting amateur orchestras and choirs, and she's giving aural training classes and seminars for choirs and amateur musicians.
She is the developer of the website Musicificium, which contains educational material for aural training.
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.
Gro Shetelig, pianist, is Professor in Aural training, up to 2017 at the Norwegian Academy of Music, Oslo (now professor emerita), currently at the Arctic University in Tromsø, teaching Aural Skills, Rhythmic Training and Aural Methodology. Being a pianist, she received her music education in Oslo (Piano pedagogy) and at Oberlin College, Ohio (Piano performance), and holds a Diploma degree in Music Theory, specializing in aural training.
She has published four textbooks in aural skills, and is co-author in the Scandinavian co-project, “Listen to Scandinavia” based on works by 20th century Nordic composers, with two CDs (abridged version in English). She has had several engagements in radio and TV and as lecturer, giving presentations, seminars and workshops for music teachers, choirs and conductors in Norway, Sweden, Denmark, Iceland, Germany, France, Latvia, Netherland, Singapore, USA, Italy, Georgia, and South Africa.
Since 2006 she was part of the research group project "Concrescence", developing methods in teaching Micro-tonality for Singers. (key words: micro-tonality, just intonation, harmonics, tonalities in Scandinavian folk music, etc.); from 2011 - 2012: "In-between-the-Beats" (with post.doc. Magnus Anderson + others) (key words: rhythmic perception and embodiment, energy, direction, flow, intention; sub-current, rhythmic hierarchy).
Born in 1990, Gabrielius Simas Sapiega is currently studying at the Lithuanian Academy of Music and Theater for a doctorate (thesis: “Hylomorphism in Spectral Music”) . He deepened his knowledge of musicology in France (Conservatoire de Lyon), and of philosophy – in Israel (University of Jerusalem). He obtained his Bachelor in Music composition with Raminta Šerkšnytė and continued his master’s studies with Mārtiņš Viļums. G. S. Sapiega composes instrumental music of various kind, constantly participates in composition master classes and music festivals. His works were performed in Lithuania, France, Czech Republic, Austria, Estonia, etc., as well as broadcasted and recorded on the UK BBC 3 radio.
2014: 20th-21st centuries music history and Music theory and harmony teacher at Vilnius Juozas Tallet-Kelpša conservatory
2015-2016: Solfege teacher at Music school of Lithuanian academy of music and theatre
since 2016: Music theory and harmony, Analysis and Solfege teacher at Kaunas Juozas Gruodis Conservatory
since 2018: Head of Music Theory Department at Kaunas Juozas Gruodis Conservatory
since 2017: Solfege teacher at Lithuanian Academy of music and theatre
since 2018: Young researcher at Lithuanian Academy of music and theatre.
Irina Zakharbekova is a musicologist, music teacher, public educator, journalist and piano player. She graduated at the Gnessins Academy of Music in 2010 and postgraduated in 2013. The area of her scientific interests is concerned to the French music from the XIX to the beginning of the XX centuries, especially to the French operatic spectacles and works of Maurice Ravel. She has published in the leading Russian musicological journals and she periodically takes part in Russian academic conferences.
She worked as a music teacher in several children’s music schools in Moscow and since 2013 has been teaching at the Music Theory Department of the Gnessins Academy. She teaches sol-fa and harmony (for vocalists, pianists, ethnomusicologists and composers), arrangement and harmonization (for pianists), musical pedagogics and pedagogical practice (for musicologists and music teachers), methods of scientific research (for bachelor and masters of different specialities), lectures and philharmonic practice (for musicologists and music journalists).
She also takes part in many concerts and educational music programs as a lecturer and pianist.
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