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  • Belonis, Yannis

       Ph.D. in Musicology (Department of Musical Studies of the University of Athens). He is arranger / orchestrator and supervisor of the music library of the Greek National Opera,  chief editor of the musicological Journal Polyphonia, member of the Hellenic Musicological Society and pianist of “Mikis Theodorakis” orchestra. He specialises in Greek music and in particular composers of the Greek National School of Music.
       He graduated from the Department of Musical Studies at the University of Athens in 1998. The following year he received a scholarship from the National Scholarships Institution in order to carry out his Ph.D. thesis with the subject “The Chamber Music of Manolis Kalomiris”, which was completed in 2004.
       During the period 2004-2013 he worked as a Research Assosiate of the Faculty of Music Technology at the Technological University of Epirus (Arta). Since 2004, iin collaboration with the publishing house “Philippos Nakas”, he has undertaken the editing of a part of the orchestral works of composer Yannis A. Papaioannou. Since 2002 he has been one of the chief editors of the most dominant musicological journal in Greece, Polyphonia (www.polyphonia.gr) and during the period 2008-2010, he maintained a column in the newspaper Real News, as a music critic.
       He has actively participated in international musicological conferences in Greece and Europe, in some of which he was a member of the organizing committee. His articles and papers have been published in Greek and foreign scientific journals, collective editions, newspapers and in program notes of the “Athens Concert Hall”.
       In 2012 the Hellenic Music Centre published his book titled Chamber Music in Greece in the first half of the 20th century. The case of Marios Varvoglis (1885-1967). He has participated in many concerts as a musician, and he has collaborated with numerous Greek composers, theater and symphonic orchestras in order to orchestrate and arrange various musical works.

  • Levidou, Katerina

       Katerina Levidou studied musicology, the piano and music theory at undergraduate level in Greece (University of Athens and National Conservatory). She received an MMus from King’s College London (funded by the A. S. Onassis Benefit Foundation) and a doctorate from the University of Oxford (funded by the Ismene Fitch Foundation and a Vice-Chancellor’s Fund Award). Between 2007 and 2011 she was Junior Research Fellow at Christ Church, University of Oxford. In 2011–2012 she held a Swiss Federal Scholarship for research at the University of Lausanne, where in 2012–2013 she was External Scientific Collaborator (supported by a grant from the Igor Stravinsky Foundation). In 2014–2015 she worked postdoctoral researcher for the research project Western Art Music at the Time of Crisis: An Interdisciplinary Study of Contemporary Greek Culture and European Integration (ARISTEIA II – University of Athens), in the context of which she researched festivals of Western art music in contemporary Greece. She has been Visiting Research Fellow at the Centre for Hellenic Studies, King’s College London since 2014, while she is also Tutor for the Masters programme at the Faculty of Music Studies of the National and Kapodistrian University of Athens.
       Her research interests include aspects of Russian and Greek music, modernism, nationalism, emigration, politics, spirituality, identity, aesthetics and music festivals. She has published widely on Stravinskian neoclassicism and Eurasianism, on Nikos Skalkottas’s 36 Dances for Orchestra, the reception of Greek antiquity in music since the nineteenth century, while she is also contributor to Grove Music Online. Her recent publications include the volume of essays Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism (Cambridge Scholars Publishing, 2016), in which appears her chapter on Prokofiev’s The Fiery Angel. Since 2008 she has been co-convenor of the Study Group for Russian and Eastern European Music of the British Association for Slavonic and East European Studies, in which capacity she has co-organised numerous international conferences. 

  • Sakallieros, Giorgos

    Giorgos Sakallieros is Assistant Professor of Historical Musicology at the Aristotle University of Thessaloniki (School of Music Studies / Faculty of Fine Arts). He was born in Tübingen, Germany. He studied musicology at the School of Music Studies, Aristotle University of Thessaloniki (BA, 1996) as well as the Faculty of Music Studies, University of Athens (PhD, 2005). He also studied composition, music theory and guitar performance at the "Collegium Musicum" Conservatory of Thessaloniki (graduating with Advanced Diplomas in 1995 & 2005). He is the author of the book Giannēs Kōnstantinidēs (1903-1984). His Life, Works and Compositional Style (Thessalonikē: University Studio Press, 2010). His papers have been presented at international musicological conferences and are published in several musicological journals, collective editions and proceedings, while he is also a contributor to Grove Music Online. His works, including orchestral, vocal and chamber music, are regularly performed. He was awarded first prize in the national composition competition “Dēmētrēs Dragatakēs”, organized by the Greek Composers’ Union in 2003, for his work Lament for “D”… – A string quartet. He is a member of the Ιnternational Musicological Society (IMS), of the Society of Interdisciplinary Musicology (SIM), of the Greek Composers’ Union, and a founding member of the Hellenic Musicological Society.

  • Seiragakis, Manolis

    Manolis Seiragakis is an actor, a theatre director and a Theatre Studies’ professor assistant in the University of Crete. He is contributor to The New Grove Dictionary of Music and Musicians (Grove Music Online), as his main research interests focus on issues related to the connection between theatre and music.  He has coordinated three conferences: on the Greek Operetta (Thessaloniki,2011), on incidental music composed for the contemporary staging of ancient drama in Greece(Rethymno, 2012), and on Theatre Revue as a genre (Rethymno, 2015). He received his doctorate from the University of Athens in 2006; his doctoral thesis is entitled: “Light musical theatre in theInterwar Athens (1922-1940)”. During 2009 his revised thesis was published in a two volume book(Kastaniotis editions). He is contributor of the edited volume  Naomi Matsumoto (ed.), Staging Verdi and Wagner Operas, Brepols (Turnhout, Belgium), 2015 which includes his chapter «Mediterranising the Composer of the North: Richard Wagner, Contantinos Christomanos and the Early Modern Greek Theatre». In the University of Crete he supervises three theses; on the librettos of Greek and French Operetta during the Interwar (Evi Nikita), the Stand-up comedy in Greece (Anthony Iliadis) and the theater in Crete in the 20th century (Anna Tzanidaki). Since 2013 he is co-founder of the Theatre troupe and the Festival named Antivaro which is been held every Lent in Rethymnon.

  • Sicilianos, Yorgo

    Sicilianos, Yorgo   

       Yorgo Sicilianos (1920-2005) is one of the most important figures of musical modernism in Greece. Born in Athens, he studied theory and composition with Kostas Sfakianakis, Marios Varvoglis and George Sklavos; from 1951 to 1953 he continued his studies at the Academy of Santa Cecilia in Rome with Ildebrando Pizzetti, receiving a diploma in composition in 1953. While in Italy he was introduced to the music of Béla Bartók and the composers of the Second Viennese School, which proved influential on his later development, since it played a decisive role in his decision to turn to contemporary musical idioms. After Italy he attended Tony Aubin’s course in composition at the Conservatoire National in Paris (1953–54) and the classes of Walter Piston at Harvard University, Boris Blacher at the Tanglewood Institute and Vincent Perischetti at the Juilliard School of New York (1955–56). In New York, Sicilianos made the acquaintace of fellow Greek, conductor Dimitri Mitropoulos. Later (in March 1958), Mitropoulos premiered Sicilianos’ First Symphony, op. 14 (1956) with the New York Philharmonic.
       In 1956 Sicilianos returned to Greece permanently. At that time, he was one of the first Greek composers to follow modernist trends in music. He went on to produce a total output that consists of 63 works and encompasses all genres: symphonic music, chamber music, piano music, song cycles, opera, ballet, incidental music and more.
       Parallel to his work as a composer, Sicilianos was an active participant in Greek music life. He served as Head of the Music Department of the Greek Broadcasting Institute (1960–62), General Secretary of the Ministry of Education’s Greek Music Council (1963–64), Vice–president of the Greek section of the International Society for Contemporary Music and the Greek Association of Contemporary Music (1964–68 and 1965–69 respectively), Head of the Music Department of Greek Broadcast and Television (1974), member of the Artistic Committee and the Board of Trustees of the Greek National Opera (1976–79 and 1980–81 respectively), President of the Greek Composers’ Union (1981–89), member of the Board of Directors of Greek Radio and Television (1987–88) and President of the Artistic Committee of the Greek National Opera (1990–94).
       Throughout his career Sicilianos received significant distinctions. In 1962 he won the third prize at the Liège International String Quartet Competition for his String Quartet no. 3, op. 15 and his works were chosen twice to represent Greece at the Festival of the International Society for Contemporary Music (Stasimon B, op. 25, Madrid, 1965 and Perspectives, op. 26, Prague, 1967). He was also honoured for his contribution to music with the following medals and prizes: Cavaliere “al merito della Republica Italiana” (Rome, 1962), Chevalier des Arts (Paris, 1990), Herder Prize (Vienna, 1991) and the Eirini G. Papaioannou Prize of the Academy of Athens (1994). Finally, in 1999 he received an Honorary Doctorate from the University of Athens.
       Sicilianos’ work can be divided into three periods. The first period, during which he followed tonal and modal idioms, includes works he wrote until 1953, the year in which he finished his studies in Italy, when he still believed that the future of Greek music lay “at the point where Byzantine Chant intersects with Greek Folk Song”. The second period started with the Concerto for Orchestra, op. 12 (1954), where Sicilianos used for the first time the twelve-tone technique. This period, characterised by his seeking of and experimentation in contemporary musical trends (the twelve-tone technique, serialism, post-serialist techniques, electronic music), lasted about 25 years. Mellichomidi, op. 44 (1980) signalled the passage into a third period, during which the composer turned consciously to a more melodic and accessible idiom.

    Valia Christopoulou, Musicologist
    English Translation by Demetris Kikizas

  • Vlastos, George

       George Vlastos studied piano at the Athens Conservatory and musicology at the Faculty of Music Studies of the University of Athens, and graduated from both in 1997. Subsequently, in 1998 he received a Master’s Degree in Musicology (D.E.A) from the University of Sorbonne (Paris IV). In 2005 he received his doctorate from the University of Athens; his doctoral thesis is entitled: “The Reception of Greek Antiquity in Early 20th-century French Music: 1900-1918”. He is Director of the Musical Ensembles of the Athens Municipality, member of the Hellenic Musicological Society, editor in chief of the Greek musicological journal Polyphonia, and member of the RIPM Greek team (Répertoire International de la Presse Musicale / Retrospective Index to Music Periodicals, 1800-1950). He is contributor to Grove Music Online, collaborates regularly with the editorial department of Megaron – the Athens Concert Hall – and has participatedin several international musicological congresses in Greece and abroad as member of the organizing committee and speaker. His publications include essays in edited books, articles and book reviews in Greek and international academic journals. He has also edited books and conference proceedings and has translated essays that appeared in academic publications in Greece and abroad. His research interests focus mainly on 19th- and 20th-century French music. He is co-editor of the edited volume Musical Receptions of Greek Antiquity: From the Romantic Era to Modernism (Cambridge Scholars Publishing, 2016), which includes his chapter on Erik Satie’s Socrate.

Showing 1 - 5 of 5 items
Showing 1 - 5 of 5 items