Aléxandros Kapsokavadis
Alexandros Kapsokavadis was born in Athens in 1981.
At the age of ten, he started getting guitar and music theory lessons.
As a student of Western Athens Music High School, he learnt to play plucked stringed musical instruments from famous teachers, like Christos Tsiamoulis and Nikos Grapsas!
After Lycium, he took Turkish Classical Music lessons from Ross Daly and he specialised in lavta (lute from Constantinople).
He studied Musicology (2004). Since 2007, he focused in Ethnomusicology and Social Anthropology, completing his MA (2010) and PhD (2016) at The National and Kapodistrian University of Athens.
He’s -currently- an elementary school music teacher and he’s studying Music Synthesis.
He has collaborated with various artists in Greece as a musical executor, and he has recorded his own albums in the Greek discography as a songwriter.
At the age of ten, he started getting guitar and music theory lessons.
As a student of Western Athens Music High School, he learnt to play plucked stringed musical instruments from famous teachers, like Christos Tsiamoulis and Nikos Grapsas!
After Lycium, he took Turkish Classical Music lessons from Ross Daly and he specialised in lavta (lute from Constantinople).
He studied Musicology (2004). Since 2007, he focused in Ethnomusicology and Social Anthropology, completing his MA (2010) and PhD (2016) at The National and Kapodistrian University of Athens.
He’s -currently- an elementary school music teacher and he’s studying Music Synthesis.
He has collaborated with various artists in Greece as a musical executor, and he has recorded his own albums in the Greek discography as a songwriter.
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This work intends to demonstrate how the Music School has succeeded, over the last thirty years or so, in approaching an educational model in which music is often inadvertently introduced to pupils with the face described above.
The author's long presence in these schools, as a student and teacher, ensures certain obvious advantages in his research, since, without disregarding his subjectivity, he tells a story, which he has lived through...
Alongside him, the figures of the ethnography - figures closely linked to the institution in question - intervene, giving their testimonies in a human tone and enabling the reader to enter this still unknown world where music is, in fact, a normal act...
Ο συγγραφέας του παρόντος τόμου επιχειρεί να δώσει αναγνώσιμη μορφή σε πενήντα μελωδίες από την αστική-λαϊκή μουσική παράδοση της Σμύρνης και της Κωνσταντινούπολης (κυρίως), όπως αυτές πρωτοηχογραφήθηκαν, με τη βοήθεια της ευρωπαϊκής σημειογραφίας.
Στη συνέχεια, τα παραπάνω ανώνυμα τραγούδια πρόκεται να αξιοποηθούν ως εργαλεία πειθούς για μια σειρά από μουσικολογικά ζητήματα σχετικά με την ίδια τη διαδικασία της μουσικής καταγραφής, τη χρήση του τουρκικού μακάμ στην ελληνική μουσική πρακτική, τη μετακινούμενη φύση των μουσικών ως αυτόνομων φορέων πολιτισμού και, τέλος, την καταλυτική επίδραση της ηχογράφησης στην Ιστορία της μουσικής δημιουργίας.
Talks by Aléxandros Kapsokavadis
• The following text is an attempt to expose the fact that we should not focus on a music score as if it holds all the truth. On the contrary, it primarily reveals an irresistible subjectivism on the part of its creator. Thus, we should in no way forget that the essential understanding of a piece of music, no matter how accurate an attempt to put it down on paper, will always be linked to listening.
• Presentation at the 6th scientific conference of the School of Humanities (Hellenic Open University) on "Contemporary approaches to the study of music and dance"
If we add to these two cases the much younger, Sophia Kamagianni, whose musical interests cover a wide range, we have three characteristic examples which prove that the female element within the male-dominated "community" of Greek composers was mainly renewing.
• Five highly experienced music instructors, who have served in music schools as teachers of musical instruments, share their memories of living with students with disabilities. Together with the presenter, the small "writing" group stands, both in the exhausting and fascinating aspect of the profession of the teacher, who stands out as the "soul" of the educational process.
The fact that emerges as a common finding from the narratives of these people is that their close acquaintance with learning 'diversity' constitutes a rare way of exploring the teaching -and not only- self.
Αν δει κανείς τα μουσικά όργανα μέσα από αυτό το πρίσμα, είναι πολύ πιθανό ότι θα αλλάξει και τον τρόπο με τον οποίο τα διαχειρίζεται ως εκπαιδευτικά εργαλεία.
Με αφορμή το «ατομικό» μάθημα του Ταμπουρά στα μουσικά σχολεία, ανοίγει η συζήτηση γύρω από τη διδασκαλία των μουσικών οργάνων με όρους ουσιαστικής (και όχι τύποις) ατομικότητας, οι οποίοι θα υπακούουν στην προσωπική οπτική μέσω της οποίας κάθε παιδί αντιλαμβάνεται τη θέση του στο μουσικό σύμπαν.
• Perhaps we should begin to treat musical instruments as living entities; as those close friends who have kept us company at times, who have saved us financially, who have supported us psychologically and who, logically, will be alive even when we leave them.
If we look at musical instruments through this prism, it is very likely that the way we treat them as educational tools will change.
Maybe, it's the right time to open a discussion about the possibility of conducting any private musical lesson in terms of essential individuality, where the teacher should concern the way each child understands his or her place in the musical universe.
Σήμερα, θα υπογραμμίσουμε την αξία που θα είχε για τους σύγχρονους σπουδαστές μουσικής να συνδυάσουν τη χρήση των ευεργετικών ιδιοτήτων του ίντερνετ με την ταυτόχρονη παρουσία του δασκάλου.
This work intends to demonstrate how the Music School has succeeded, over the last thirty years or so, in approaching an educational model in which music is often inadvertently introduced to pupils with the face described above.
The author's long presence in these schools, as a student and teacher, ensures certain obvious advantages in his research, since, without disregarding his subjectivity, he tells a story, which he has lived through...
Alongside him, the figures of the ethnography - figures closely linked to the institution in question - intervene, giving their testimonies in a human tone and enabling the reader to enter this still unknown world where music is, in fact, a normal act...
Ο συγγραφέας του παρόντος τόμου επιχειρεί να δώσει αναγνώσιμη μορφή σε πενήντα μελωδίες από την αστική-λαϊκή μουσική παράδοση της Σμύρνης και της Κωνσταντινούπολης (κυρίως), όπως αυτές πρωτοηχογραφήθηκαν, με τη βοήθεια της ευρωπαϊκής σημειογραφίας.
Στη συνέχεια, τα παραπάνω ανώνυμα τραγούδια πρόκεται να αξιοποηθούν ως εργαλεία πειθούς για μια σειρά από μουσικολογικά ζητήματα σχετικά με την ίδια τη διαδικασία της μουσικής καταγραφής, τη χρήση του τουρκικού μακάμ στην ελληνική μουσική πρακτική, τη μετακινούμενη φύση των μουσικών ως αυτόνομων φορέων πολιτισμού και, τέλος, την καταλυτική επίδραση της ηχογράφησης στην Ιστορία της μουσικής δημιουργίας.
• The following text is an attempt to expose the fact that we should not focus on a music score as if it holds all the truth. On the contrary, it primarily reveals an irresistible subjectivism on the part of its creator. Thus, we should in no way forget that the essential understanding of a piece of music, no matter how accurate an attempt to put it down on paper, will always be linked to listening.
• Presentation at the 6th scientific conference of the School of Humanities (Hellenic Open University) on "Contemporary approaches to the study of music and dance"
If we add to these two cases the much younger, Sophia Kamagianni, whose musical interests cover a wide range, we have three characteristic examples which prove that the female element within the male-dominated "community" of Greek composers was mainly renewing.
• Five highly experienced music instructors, who have served in music schools as teachers of musical instruments, share their memories of living with students with disabilities. Together with the presenter, the small "writing" group stands, both in the exhausting and fascinating aspect of the profession of the teacher, who stands out as the "soul" of the educational process.
The fact that emerges as a common finding from the narratives of these people is that their close acquaintance with learning 'diversity' constitutes a rare way of exploring the teaching -and not only- self.
Αν δει κανείς τα μουσικά όργανα μέσα από αυτό το πρίσμα, είναι πολύ πιθανό ότι θα αλλάξει και τον τρόπο με τον οποίο τα διαχειρίζεται ως εκπαιδευτικά εργαλεία.
Με αφορμή το «ατομικό» μάθημα του Ταμπουρά στα μουσικά σχολεία, ανοίγει η συζήτηση γύρω από τη διδασκαλία των μουσικών οργάνων με όρους ουσιαστικής (και όχι τύποις) ατομικότητας, οι οποίοι θα υπακούουν στην προσωπική οπτική μέσω της οποίας κάθε παιδί αντιλαμβάνεται τη θέση του στο μουσικό σύμπαν.
• Perhaps we should begin to treat musical instruments as living entities; as those close friends who have kept us company at times, who have saved us financially, who have supported us psychologically and who, logically, will be alive even when we leave them.
If we look at musical instruments through this prism, it is very likely that the way we treat them as educational tools will change.
Maybe, it's the right time to open a discussion about the possibility of conducting any private musical lesson in terms of essential individuality, where the teacher should concern the way each child understands his or her place in the musical universe.
Σήμερα, θα υπογραμμίσουμε την αξία που θα είχε για τους σύγχρονους σπουδαστές μουσικής να συνδυάσουν τη χρήση των ευεργετικών ιδιοτήτων του ίντερνετ με την ταυτόχρονη παρουσία του δασκάλου.