PRO-419 WESTERN MUSIC VI FRONTIERS OF THE MUSICAL-ARTISTIC DIALOGUE BETWEEN WESTERN TRADITION AND WORLD MUSIC “Theoretical and practical experience Of the evolution of vocal music II”

  • Goa University

    Visiting Research Professors Programme

    Anthony Gonsalves Chair in Western Music

    Organizes a course on

     PRO-419 WESTERN MUSIC VI

    FRONTIERS OF THE MUSICAL-ARTISTIC DIALOGUE

    BETWEEN WESTERN TRADITION AND WORLD MUSIC

    “Theoretical and practical experience Of the evolution of vocal music II”

    (1 credit course for PG students of Goa University and open for general public)

    Inclusive of 1st Musicology Symposium on Intercultural Dialogue

    by

    Professor Santiago Lusardi Girelli

    Anthony Gonsalves Chair in Western Music

    Visiting Research Professors Program

    Goa University.

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     Schedule

    Lecture sessions will be held on every Saturday from 9.30 to 12.30 on 6th February & 13th February at Conference Hall, Goa University Administrative Building 

    and

    1st Musicology Symposium on Intercultural Dialogue will be held on 16th, 17th, 18th February, 2016(4 pm to 6.30 pm) at Multipurpose Auditorium, Sanskriti Bhavan, Govt of Goa, Patto Plaza, Panaji 

    CLICK HERE FOR ONLINE Registration 

    The course is open to students, general public and all music lovers. Certificate will be awarded to all the participants who fulfill 75% attendance record. Credit Grade will be awarded to registered PG students who fulfil attendance criteria and answer the exam.

     

    Session Details

    Calendar:

    • Class I / Saturday 06th   (Feb) 9.30 to 12.30
    • Class II / Saturday 13th  (Feb) 9.30 to 12.30 / Introduction Class to Intercultural Module – Symposium
    • Class III – Module / Musicology Symposium – Intercultural Dialogue to be held at Multipurpose Auditorium, Sanskriti Bhavan, Govt of Goa, Patto Plaza, Panaji as below
      • Tuesday, 16th February, 2016 (16.00 to 18.30).
      • Wednesday 17th February, 2016 (16.00 to 18.30).
      • Thursday 18th February, 2016 (16.00 to 18.30)

     

    Concert Attendance at Sacred Music Festival / Date will be fixed with the Students.

     

     

    Introduction.

    This course is the sixth edition of Music in Dialogue with Western Philosophy, History and Arts.  “FRONTIERS OF THE MUSICAL-ARTISTIC DIALOGUE BETWEEN WESTERN TRADITION AND WORLD MUSIC – Theoretical and practical experience of the evolution of vocal music II” is a course that seeks to understand the evolution, theory and technique of the western vocal music tradition seeking to understand the real meaning of the human need to express their experiences through the singing voice. The course analyses the history of vocal music, the opera and the oratory.

    This course is structured in 3 classes and 1 module, which is part of the 1st Musicology Symposium of Old Goa. The whole course is a complete experience of practical and theoretical lectures and conferences. Through their participation in the Symposium, students will take part in a multicultural-artistic event where Professor Santiago Lusardi and Professors and Artists from different places and traditions will discuss and share thoughts and knowledge about music, art and other subjects.

    This course (Classes and Module) will dissert about the ideas and evolution of the music parameters through the analysis of different pieces (motet, cantata, oratory and other) of the corpus of the vocal music tradition from west. We asume the goal to be to study the foundations of Western Music through the analisys of different works and composers and whild studying them, both theoretically and practically, including analyzing the elements that constitute them.

    Western Music VI course will cover all the topics discussed from two points of view; 1. Theoretical  2. Practical by performing exercises, singing choir sessions, joint activities and various musical practices. Through the understanding of the innate human act of singing we expect to apreciate a little more of the artistic and historical processes that have woven the plot of musical tradition of the West.

     

    Syllabus.

     FRONTIERS OF THE MUSICAL-ARTISTIC DIALOGUE

    BETWEEN WESTERN TRADITION AND WORLD MUSIC

    “Theoretical and practical experience of the evolution of vocal music II”

    Class 1

    ANCIENT ROOTS AND RYTHM

     ANCIENT ROOTS AND RHYTHM. Dialogue with African Music.

    Introduction to the course: Basic ideas.

    • Conference I: Frontiers of the musical-artistic dialogue between western tradition and world music “Theoretical and practical experience of the evolution of choral music II”.
    • Historical and anthropological review of the human need to sing II.

    Activity 1: Perception and Deconstruction of the musical phenomena: Analysis of the singing structure phenomena. Introduction to the concepts of resonance and timbre.  The inner world: the perception of your own voice.

    • Lecture I: Introduction to Rhythm, Harmony and melody: Ancient Vocal Music. Singing exercises.

    —————

    Deconstruction I:

    • Introduction, Structure, History and the Social context of the Music Syncretism.
    • Activity 2  – Singing Music I.: Gregorian chant and Neumatic writing.
    • Activity 3 – Music Reading I / Writing Music I. Transcription of manuscripts.
    • Dialogue with African Music – Baroque Colonial Music – Guineas, Negrillas. Missa Luba.

     

    Class 2

    MELODY, TONALITY AND MUSIC GRAVITY

     In Dialogue with Jewish and Arabic Music from the Mediterranean Sea.

    Review – Activity WM VI Class 1.

    • Conference II: The Human Voice: the expression of an anthropological truth. “Theoretical and practical experience of the evolution of vocal music”.
    • Activity 5 – Breathing and air control exercises.
    • Activity 6: Perception and Deconstruction of the musical phenomena: tonality and gravity in contemporary vocal Music.
    • Lecture II: Sephardic Phenomena – Songs from the Mediterranean culture. Jewish – Arabic and Christian Music.

    —————

     Deconstruction II – Sephardic Music.

    • Literature and Culture in the Mediterranean Sea.
    • Activity 7  – Singing Music II.
    • Introduction, structure, history and the social context. Mediterranean Music (Repertories I).
    • Activity 2  – Singing Music I.: Gregorian chant and Neumatic writing.
    • Activity 3 – Music Reading I / Writing Music I. Transcription of manuscripts.
    • Dialogue with Mediterranean – Jewish and Arabic Music: Alandalus Kingdom.

    NEW FRONTIERS MUSICAL DIALOGUE

    – Ist SYMPOSIUM of MUSICOLOGY  of GOA UNIVERSITY

     

    PARAMETERS AND VIRTUES OF THE INTERCULTURAL MUSIC DIALOGUE.

    INTRODUCTION TO THE Ist SYMPOSIUM of MUSICOLOGY

     

    THE FRONTIERS OF TONALITY – MINIMALISM.

     

    Class III.

    In Dialogue with Asian Music.

     

    • Review – Activity WM V Class 2.
    • Conference III: The human voice: the expression of a anthropological truth II. “Theoretical and practical experience of the evolution of vocal music”.

     

    ————–

    In Dialogue with Indigenous American Cultures.

    Review – Activity WMV Class 3.

    • Conference IV: The human voice: the expression of a anthropological truth IV. “Theoretical and practical experience of the evolution of vocal music”.
    • Historical and philosophical review of the SINCRETISM concept.
    • Activity 13: Perception and Deconstruction of the Musical Phenomena: The “Musical Zero gravity” concept. The atonalism: “Disharmony”
    • Lecture IV: Other elements that govern harmony (apart of intonation and pitch): / Schoenberg – Serialism & Dodecaphonism. Singing exercises IV.

     

    ————–

     

    Deconstruction IV.

     

    • INTRODUCTION TO THE Ist SYMPOSIUM of MUSICOLOGY
    • Structure and Symposium operation.
    • Parameters and virtues of the intercultural music dialogue.
    • Practical Guide to understanding the musical intercultural dialogue.
      Deconstruction and analysis.

     

     

     

     

    Module / Musicology Symposium – Intercultural Dialogue

     

    v  Tuesday 16th  (Feb), 16.00 to 18.00

    v  Wednesday 17th  (Feb), 16.00 to 18.00

    v  Thursday 18th (Feb), 16.00 to 18.00

     

    Invited Lecturers – Professors and Artists.

     

    Rakesh Chaurasia – India Classical Music (Mumbai – India).

    Aruna Sunderal – Music Education (Bangalore – India)

    Sebanti Charterjee, Lecturer (India)

    Hannah Marsden, Lecturer (UK)

    Paola Pacciolla – Musicologist from the Conservatoy of Vicenza (Italy)

    Rocío de Frutos – Professor from the Unversity of Seville (Spain)

    Miguel Rodriguez – Professor UPO University (Spain)

    Daniel Parejo – Musicologist and Researcher, expert in Jewish  and Arabic Music (Spain)

    Fr. Loiola, Secretary of the Archbishop (Goa – India)

    Celeste Cordo – Expert in Sacred Music (Cadenza Kantori – Bombay)

     

     

     

     

    • Final Examination / Report.      

    Saturday 20th, February 2016.

     

     

     

    Prof. Santiago Lusard Girelli:

    He was born in Buenos Aires (Argentina), his work as a choir and orchestra conductor has taken place in the last recent years in Argentina, Bolivia, Peru, Venezuela and Spain.

    He started his studies in music and philosophy since he was very young; his profile has been developed by these two paths of study. He is a Choir and Orchestra conductor,Girelli performer, composer and scholar of theological philosophical traditions of the East and West.

    In Bolivia he has worked as the main conductor of the Orchestra San José de Chiquitos, located in the Chiquitania, Santa Cruz de la Sierra, Bolivia, with which he has made national and international tours during 2007/08. He worked within the Venezuela´s musical system (EL SISTEMA) durin 2007/ 2008; invited as a conductor of the

    “Symphonic Orchestra Hombres Nuevos” during 2007/08, conductor in the “National Youth Orchestra of Peru”, the “Imperial Orchestra from Cuzco” (2008), and the “Banuev´s Choir” during the Youth International Meeting in Rome (2000). In Buenos Aires he worked with several choirs, orchestral groups and musical projects as conductor and producer. He has recorded more than 25 CDs and conducted more than 15 musicals like Jesus Christ Superstar, Les Miserable or The Phantom of the Opera.

    He did several researches on baroque vocal music of Moxos and Chiquitania´s archives in Latin-America, and he conducted brand-new musical pieces with his “Seville Chamber Choir” (Spain).He had attended to several coral conduction courses and workshops with renamed masters of different countries: José Carlos Carmona (Spain), Antonio Abreu

    (Venezuela), A. Alonso (France), Julio Domínguez (Spain) G. Céspedes (Colombia), N. Andrenacci (Argentina), W. Ptaff (Germany), and vocal performance with Mirella Frenni (Italy).

    Currently, he is Sub-director in the “Seville Symphony Orchestra Hispalense” (Spain) and assistant conductor at the Seville University Choir. He is also conductor of the Seville Chamber Choir and Orchestra since March 2010. He is nowadays in charge of the presidency of the FESECO (Choir Federation of Seville).

    He studied Theology and Philosophy in the Argentinean Catholic University and the Universidad del Salvador (Buenos Aires, Argentina), he also studied Oriental Philosophies, Yoga and Meditation in Argentina and India. He studied Orchestra conduction in Buenos Aires at the UCA University and Choir Conduction in the Manuel Castillo Conservatory of Seville, Spain. Nowadays he is finishing the PhD in music at the University of Seville where he also teaches.

     

    Course Coordinator- Ms Marise D Lima, Dept of Portuguese, Goa University

     

    For further details www.unigoa.ac.in/vrpp  email- [email protected]

     

    Ramrao Wagh, VRPP Coordinator, Goa University

     

     

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