CONFERENCE*PROCEEDINGS*

Transcription

1 * International*Musicological*Conference* * Crossroads* *Greece*as*an*intercultural*pole*of* musical*thought*and*creativity* AristotleUniversityofThessaloniki SchoolofMusicStudies InternationalMusicologicalSociety(I.M.S.) RegionalAssociationfortheStudyofMusicoftheBalkans Thessaloniki,*6>10*June*2011* * CONFERENCE*PROCEEDINGS* * Edited*by* Evi*Nika>Sampson,*Giorgos*Sakallieros,* Maria*Alexandru,*Giorgos*Kitsios,*Emmanouil*Giannopoulos* * * * Thessaloniki*2013*

2 Proceedings of the International Musicological Conference Crossroads Greece as an intercultural pole of musical thought and creativity Edited by Evi Nika-Sampson, Giorgos Sakallieros, Maria Alexandru, Giorgos Kitsios & Emmanouil Giannopoulos E-Book design & editing: Giorgos Sakallieros Electronically published by the School of Music Studies, Aristotle University of Thessaloniki ISBN: Copyright 2013, School of Music Studies A.U.Th. & the authors ii

3 Y.+A.+Papaioannou's+educational+corpus+ + A+creative+approach+to+tonal+composition+teaching+ + Costas&Tsougras& School&of&Music&Studies,&Aristotle&University&of&Thessaloniki,&Greece& tsougras@mus.auth.gr&?& & & Abstract. The present paper is the outcome of extensive research on Yannis Andreou Papaioannou s (Y.A.P.)pedagogicalarchive,andexamineshisteachingapproachtotonalcompositionandespeciallyto tonalharmony,counterpointandmusicalform.hisbasicviewpointonmusicteaching,i.e.theavoidance ofstereotypereproductiveteachingandthedevelopmentofhisstudents'individualcreativepotential,is studiedinrelationtohispreservedtonalcompositionexercises.inthiscontext,hisholisticapproachto tonalmusicaltextureispresentedthroughanumberorrepresentativecategorisedassignmentswritten forhisstudents,alongwithsomeofhisrarelyencounteredownsolutions.apartfromadetailedoverview ofthecategoriesandtheircontent,apedagogicallyorientedconnectionbetweenthemisattempted.this aimsatdemonstratingtheamalgamationofharmonyandcounterpointandtheawarenessofhistorically definedmusicalstyleinpapaioannou'steaching.thepaperalsocompareshisapproachtootherteaching methodsorcurriculaemployedingreeceandeurope. 1.*Introduction* *Y.A.P.'s*educational*approach 1 * YannisAndreouPapaioannou(1910I1989),apartfromhisstatusasaprominentGreek composer,wasalsooneofthemostimportantmusictheoryandcompositionteachersin Greece during the second half of the 20 th century. 2 According to current biographical resources, 3 he taught music at Secondary Schools (1934I1961), music theory at the Athens National Conservatory (1934I1937), history of music at the Anavryta National Institute (1951I1961) and music theory and composition at the Athens Hellenic Conservatory(1952I1976). However, the most important part of his teaching was the private theory and composition lessons he gave at his home during his entire creative careerandupuntiltheendofhislife. 1ThispaperispartofathreeIpapersymposiumentitled"Teachingtonalandcontemporarycomposition as an issue of internationalization and modernism in Greek music: Editing Yannis A. Papaioannou s ( )educationalcorpus".Theothertwopapersare:"Theeditorialproblemsofthematerial"by DemetreYannouand"TeachingmodernisminGreece:Techniquesandideascrossingthecompositional andeducationalworkofpapaioannousince1950"bykostaschardas.also,partofthepresentpaper was presented (in Greek) at the fourth conference of the Greek Society for Music Education [Costas Tsougras,"Y.A.PapaioannouasateacherIAcreativeapproachtotonalharmonyteaching",Proceedings+ of+ the+ 4th+ conference+ of+ the+ Greek+ Society+ for+ Music+ Education (GSME, 2005), 163I176]. For other published research on Y. A. Papaioannou's composition teaching, see: Demetre Yannou, "Yannis A. Papaioannouasateacher",inYannis+A.+Papaioannou+<+The+composer,+the+teacher+<+Quest+and+vanguard (Athens:BenakiMuseum,2004),118I131andPetrosAndriotis, ThecomposerYannisA.Papaioannou throughhisteaching",moussikos+hellinomnimon7(2010),20i35. 2ImpressivecataloguesofGreekcomposersandtheoriststhathadbeenPapaioannou'sstudentscanbe foundintakiskalogeropoulos'sdictionary+of+greek+music(athens:yalleliseditions,1998),vol.4,p.613 andinandriotis,20. 3SeeAlekaSymeonidou,Dictionary+of+Greek+Composers(Athens:PhilipposNakas,1995),332andYannou, "YannisA.Papaioannouasateacher",

4 According to his students' testimonies, the uniqueness of YAP's teaching was not due onlytothehighqualityofhisoralclassesorofhiswrittenassignments.aboveall,itwas theexperienceofthelessonitselfthatmattered,theactualinvolvementintheteaching process and the creative outcome of the student's contact with the teacher's personality. 4 Papaioannoudidnotuseanyprescribededucationalmethod,nordidheintendtocreate one,buthesimplyfollowedhisinstinctbypayingcloseattentiontohisstudents'needs. Inoneofhistextsentitled"MusicEducation"hewrote:"Theinspiredteacherdoesnot follow any preidetermined teaching method. Teaching requires inspiration, too". 5 The remarkablysuccessfulandfruitfulrelationdevelopedbetweenhimandhisstudentswas aresultofatomistic+teaching,i.e.theteachingwhosecontentisdynamicallyadaptedto theneedsandpotentialofeachindividualstudentandiscarriedoutbythecreationof particularexercisesforeachstudent,accordingtohis/herlevel,interestsandgoals.this pedagogical standpoint (not method) converges with the belief of the education philosopher and theorist Johann Heinrich Pestalozzi (1746I1827) that a person's progressis organic, i.e. it is an inner developmental process and not a combination of outer educational circumstances. This inner, atomistic developmental process enables the evolution of a person's unique capabilities, which would probably remain inactive through a uniformally designed outer educational process. 6 The positive effect of this attitudeisthedevelopmentofthestudent'screativityandthedisclosureandevolution ofhis/herindividualtalentsorcapacitiesinthemostefficientway. Papaioannou avoided the publication of any part of his educational corpus, evidently becausehebelievedthattheteachingexperiencethatheofferedcouldnotbepresented adequately in the confined and systematic way required by publishers. Moreover, the factthathecontinuedtocomposenewexercisesforalmostfiftyyears asprovedbythe chronological notes on many of his paper sheets 7 indicates his everlasting contemplationoverhisteachingmaterial.inthisframework,asd.yannoupointsout, 8 thesumofhispreservededucationalcorpus,i.e.thehandwrittenexerciseitems,wasa dynamicallyevolvedandflexibleeducationalmold,whichtookadifferentshapeduring thelessonforeachparticularstudent. * 4Theimportanceoftheteacher'spersonalityisafocalresearchobjectofeducationalpsychology.German researcher Ch. Caselmann distinguishes between two main types of teachers: the "studentioriented" teacher,whoadaptshiseducationalstrategiesaccordingtotheneedsandinterestsofthestudent,and the "objectioriented" teacher, who focuses on the teaching object and applies a uniform strategy [Achilleas Capsalis, Educational+Psychology (Thessaloniki: Kyriakidis Bros Publishing, 1990) 414I415]. Ofcourse,therearemixedItypeteachersalso,whoinclinemoreorlesstowardthesetwoextrememodel types. 5Yannou,"YannisA.Papaioannouasateacher",128. 6Accordingtoeducationpsychologists(Capsalis,312),nolearningcanoccurwithoutincentive.According tow.corell,aneducationalprocessthatactivatesthestudent'sinnerlearningstimulicontributestothe exploitationofhis/herspecialcapacitiesandtotheintegrityofhis/herpersonality(capsalis,314). 7Note on terminology: "paper sheet" denotes a handwritten piece of paper, as described by Demetre Yannou in his paper in the present proceedings, while "item" denotes a single exercise of a specific category.typically,apapersheetcontainsmorethanoneitems. 8Yannou,"YannisA.Papaioannouasateacher",126I

5 2.*Tonal*Composition*teaching* Thepreservedhandwrittenpapersheets(or"littlesheetsofpaper"ashisstudentsused to call them) 9 contain exercises that cover a wide range of composition teaching. The present paper discusses only tonal composition exercises (harmony, counterpoint, composition). For each exercise category one or more examples are given in their electronicallytranscribedform. 10 Totally, 4496 items of tonal composition exercises have been identified in the archive, however this number may change as the research project evolves and new items are added or double items are discovered and removed. The number of items in each category are: Melody: 333, Bass: 514, Mixed: 30, Skeletons: 484, Modulation: 134, Chorals: 203, Cantus Firmus: 112, Counterpoint: 544, Ricercare: 1273, Fugue: 671, Composition:76,Improvisation:53,Other:69. Three remarks about the transcription of the handwritten items must be made at this point: A considerable number of Papaioannou's handwritten paper sheets that belong to the educational corpus contain theoretical texts and analyses of works by other composers. These have not been transcribed yet and are not currently part of the presentpublicationproject. The comments and instructions in the transcribed items are biilingual (Greekand English), following the decision made by the research team with the local/ international scope of the publication in mind. However, YAP's original texts were multiilingual, a feature that infused both individual character and accessibility difficulties. SomeoftheexamplesincludedinthepresentpaperhavenotyetreachedtheirfinalI ready for publication I form, therefore some terminological inconsistencies may be found.aconsiderablenumberofitemswillberevisedandreiexportedintographic files,followingauniformterminologicalprotocol. * 2.1.*Tonal*Harmony*Exercises*Categorisation* 1. Melodies (archiving code: M, number of items: 333). This category includes the followingsubcategories:ma(unfiguredmelodies),me(figuredmelodies),ms(melodies with functional symbols), Mr (melodies with roman numeral symbols), Mt (melodies withtext,mainlygermanfolksongs Volkslieder).YAPfrequentlyprovides,apartfrom 9The full archive of Papaioannou's educational corpus is preserved in the "Historical Archives" Departmentofthe"BenakiMuseum"inAthens.Detailsabouttheresearchprojectaimingatthearchive's restorationandpublication,aswellasaboutthearchivingprocessandthelabelingofthepapersheets, canbefoundinyannou'spaperinthepresentproceedings. 10Technicaldetailsaboutthetranscriptionprocess: Software+used:FinaleforWindowsandMacintosh(versions1997to2009) Music+Font+used:Petrucci(includedinFinale) Text+and+Symbol+Font+used:CustombuiltfontbasedontheTimesfont(named:Finale.ttf)thatincludes Latincharacters,Greekcharacters,functionalharmonysymbolsandothermusicalnotationglyphs(such asnoteheads,accidentals,fermatas,etc)neededforthetextinstructions.thefontwascompiledbythe authorofthepresentpaperwiththeuseofthefontographersoftware. Publish+material+format:AllitemsareexportedtoTIFFgraphicsformat(600dpi,compressionCCITTI group4)andcategorizedaccordingtothetypeofexerciseandthecodeofthehandwrittenpapersheet. 111

6 the melody itself, indications about the tempo, the historically defined style and the orchestration(e.g.whethertheexercisemustbeutilisedforchoir,piano,stringquartet or any other instrumental or vocal ensemble). The above feature applies for other similar exercise categories, such as Basses, TwoIvoice exercises and MixedIvoice exercises.quitefrequentlyyaprequiresanimprovisedorwrittenpianoaccompaniment foragivenmelody. Examples: Ma(unfigured melody), Mt(melody with text I Volkslied), Ms(melody with functionalharmonysymbols): 112

7 2. Basses (archiving code: Β, number of items: 514). Subcategories: Ba (unfigured basses), Be(figured basses), Bs(basses with functional harmony symbols), Br(basses withroman numeral symbols). Frequently, YAP specifies that figured basses must be playedonthepianoinsteadofrealizedonpaper. Examples:Ba(unfiguredbass): Be(figuredbass): Bs(basswithfunctionalharmonysymbols): 113

8 3. Two<voice+ exercises (code: P, number of items: 3). Subcategories: Pa, Pe, Ps, Pr [symbols a, e, r, s denote similar subcategories as previously]. In this type of exercise YAP provides two complete polyphonic parts (instrumental or vocal) and requires a fourivoicecompletion. Example:Pa(unfiguredtwoIvoiceexercise): 4. Mixed<voice+ melodies, i.e. melodies that continue in other voices or instruments, frequentlywithaclefchange(code:c,numberofitems:27).subcategories:ca,ce,cs, Cr,withsymbolsa,e,r,s,asbefore.Intheseexercisesthegivenmelodicmaterial(which typically is motivicallyithematically organised) appears scattered in the polyphonic layersofavocalorinstrumentalensemble.thus,yaptransfersthethematicmaterialin allthevoices/instruments,denotingaformaldesignthatthestudentmustacknowledge andcompleteharmonicallyandpolyphonically. Example:Ca(unfiguredmixedmelody): 114

9 5.Rhythmic+skeletons(code:SR,numberofitems:30).Subcategories:SRa,SRe,SRs,SRr [symbols a, e, s, r, as previously] and SRt(Test type exercises). In these exercises YAP providesiincompleteorincompleteformiarhythmicskeleton,usuallyconsistingofa number of specific rhythmic patterns or cells and their transformation/development, and requires its realization for a given instrumental or vocal ensemble. Frequently, a harmonicskeletonisprovidedalso,withtheappropriatefunctionalorromannumeral symbols.someoftheseexercisesarecalledtests,becauseyapusedthemforjudginga newstudent'sabilityandtechnicalbackground. Examples:SRs(rhythmicskeletonwithfunctionalsymbols): SRt(unfiguredrhythmicskeleton Testtype): 6. Harmonic+ skeletons without rhythmic specification (code: S, number of items: 454). Subcategories: Ss, Sr [symbols s and r as defined]. Subcategory Ss also includes subcategoriesssm(modulation)καιssi(improvisation).intheseexercisesaharmonic skeleton is given in the form of a succession of functional (or very scarcely roman numeral)harmonicsymbols.severalexercisesareaccompaniedbyaguidingtext,which 115

10 specifies some features of its utilization, but the majority of them do not contain any further instructions. This indicates either that the student received oral instructions fromyapduringthepreviouslessonorthathesimplyhandledthegivenmaterialfreely, accordingtohisexperience,levelandinterests. Examples:Ss(harmonicskeletonwithfunctionalsymbols): Ssi(harmonicskeletonforimprovisation): Sr (harmonic skeleton with roman numeral symbols) [very rare, as they contain noni standardsymbolsandfigures]: 7. Modulation+ Themes (code: ΤΜ, number of items: 135). In this exercise type YAP provides a melodic theme, sometimes with a contrapuntal accompaniment or its transformationalfeatures,andasuccessionoftonalareas,throughwhichthestudentis expectedtoproceedinhispolyphonicrenderingoftheexercise. Examples(thesecondexampleincludesamodelsolutionbyYAP): 116

11 8. Chorals (code: X, number of items: 203). In these exercises YAP presents a monophonicchoralmelody(alwayscomingfromj.s.bach'spublished371chorals)and asksforitsfourivoicevocalharmonisationoritscontrapuntalelaborationforkeyboard instrumentsorinstrumentalensembles.inbothcases,theexerciseaimsatapproaching thebaroquecompositionalstyle(homophonicorpolyphonic). Example: 2.2.*Counterpoint*Exercises*Categorization* 1.Cantus+Firmusexercises(code:CF.Numberofitems:112).Thecantusfirmusisalways modallyspecifiedandmaybeisochronousorflorid(rarely).yaprequireseitherstrict species counterpoint or free counterpoint for 2 to 8 voices (in the 16 th century polyphonicstyle). Examples+(thesecondexampleincludesYAP'ssolution):+ 117

12 2. Counterpoint exercises (code: TA, number of items: 544). These exercises cover variouscontrapuntaltechniquesandformsofthe16 th or18 th centurypolyphonicstyle: invertible (double, triple, quadruple) counterpoint, free counterpoint, imitation, canon asprocessandasmusicalform,polychoralwriting(doublechorus),motet,passacaglia, etal. Examples: 118

13 Exampleofinvertiblecounterpointexercise(YAP'ssolution): 2a. Canon exercises in 16 th or 18 th century style (code: TAc). YAP usually provides a blueprint for a canon (typically in invertible counterpoint) and asks for a polyphonic completion. 119

14 Examples: + ExamplesofexercisescompletedbyYAP: 120

15 2b.Passacagliathemes(code:TAp).IntheseexercisesYAPprovidesatheme(typically an eightibar bass melody) and asks for a number of instrumental contrapuntal variations. Example: 121

16 3. Ricercare exercises (code: TR, number of items: 1273). The main corpus of these exercises are 16 th century fugue themes (the term Ricercare denotes the instrumental formoftherenaissancevocalfugue,butyapusesthetermforvocalfuguesalso,albeit withouttext).frequentlyyapprovides,apartfromthetheme(dux),theanswer(comes) andthepointswherestretticanoccur(byadding+symbolsbeloworabovethestaff). The category also includes instrumental (mainly for organ) Ricercare exercises in the earlybaroquestyle(17 th centurystyle secondaprattica). ExampleofacompletedthreeIvoicericercare(vocalfugue)byYAP: 122

17 ExamplesofRicercareexercises(vocal): ExamplesofRicercareexercises(instrumental): 4.Fugueexercises(code:TF,numberofitems:671).IntheseexercisesYAPprovidesa fuguetheme,oftenwithitsanswerandstrettoindications,andasksforafullexposition orafullpiecein18thcenturycontrapuntal/harmonicstyle.heisparticularlyinterested intonalanswertechniquesandthecompositionofstrettosectionsandepisodes. 123

18 Examples: ExampleofacompletedfugueexpositionbyYAP: * * 124

19 2.3.*Composition*Exercises*and*other*items* 1. Tonal+ Composition+ Exercises (code: TC, number of items: 76). The exercises of this categorycombinethepracticalknowledgeofharmonyandcounterpointwiththetheory andhistoryofmusicalform.oneormoremusicalthemesareprovided,alongwithsome structural elements regarding the harmonic and/or formal skeleton and a complete tonalcompositionisrequired.theinstrumentalensembleisalwaysspecified,aswellas thecompositionalstyleandhistoricalperiod. Examples: 2.Improvisation+Exercises(code:TIm,numberofitems:53).Theseexercisesprovidean incomplete musical text(regarding polyphony or form) or a harmonic sequence or an unaccompanied melody and require an improvised completion through spontaneous (primaivista)renderingonthepiano. Example: 125

20 3.Orchestration exercises (contained in TC category). Practically, instrumentation and orchestrationtrainingisembeddedinmanyexercisecategories.however,somespecial exercisescanalsobefound. Example: 4. Anything+ Else (code: EL, number of items: 69). The items of this category are not exercises. They are either elucidations to the content of the exercises from the other categories,ortextcommentariesonorchestration,accompanimentandinstrumentation, ortheoreticaltextsonharmonyorform. 126

21 Example: * 3.*Discussion* Tonal composition teaching during the second half of the 20 th century in Greek conservatories (the most important were the Athens Conservatory, the Hellenic ConservatoryandtheNationalConservatory)exhibitedvariousshortcomings,emerging mainlyduetothedirectinfluencesfromthecurriculumsofestablishedeuropeanmusic institutionsliketheparisconservatoire.theteachingofharmonyandcounterpointwas based on textbooks that followed the model of Theodore Dubois' Traité+ d'+ harmonie+ théorique+et+pratique(1921)andtraité+de+contrepoint+et+de+fugue(1901)orweregreek adaptations and expansions of them (e.g. Manolis Kalomiris' Harmony). These shortcomingswere: Theoreticalapproachtoharmonyteaching,basedonafixedandausteresetofrules onchordprogressionsandvoiceleadingandpractisedexclusivelythroughthefouri voicecompletionofgivenfixedmelodiesorbasses. ExcessivefocusonabstractfourIvoiceharmonyexercisesandabstractcontrapuntal techniqueswithlittleemphasisonmusicalforms. Failureinconnectingtheharmonicphenomenawiththeirhistoricaloriginsandthe formationofmusicalstyle. Harmonicnotationbasedexclusivelyonfiguredbass,resultingtoseriousrestriction ofthestudent'sharmonic/melodicexplorationrange. Emphasis on correctness of an exercise's "solution", rather than on the artistic qualityofitsrealisation. Lackofinstrumentationandorchestrationdesignation. Departurefromthemaintargetofharmony/counterpointteaching,whichoughtto beartisticcreativity. Separationofharmonyandcounterpointteaching. These shortcomings are avoided in Y.A.P. s creative and flexible tonal composition teachingthroughthefollowingattitudes: Studyofharmonyandcounterpointinparallel,whichresultsinaholisticapproach tomusicaltexture. 127

22 AdoptionofRiemann sfunctionalharmonicnotation, 11 whichenablesthecreationof harmonic skeletons embedding full and explicit description of their harmonic contentwithouttheneedfornotatedbassline.startingfromtheseskeletonsandthe harmonicstructurethattheydenote,thestudentisfreetodevelophisownmelodic lines in all voices, and also grasp both theoretically and practically the hierarchicalnatureofcompositionalthought. Exercisesnotonlyformixedchorus,butforvariousinstrumentalensembles(piano, trio, quartet, etc), which results in familiarization with the orchestral instruments andinricherandmorecomplexmelodiclines. Extendeduseofthepiano,eitherforimprovisedaccompanimentofmelodiesorfor realisationoffiguredbasses,makingthestudentlistentohis/herharmoniesandnot only think theoretically of them, while also improving his/her practical experience andreflexes. Emphasis on motivic and thematic elaboration and development through exercises that go beyond the traditional "melody or bass harmony exercise", like the modulationandimprovisationexercises. Connectionofthestudyofharmonyandcounterpointwiththestudyofmusicalform and the history of music through exercises on the composition of small or large historicallydefinedforms(e.g.variations,passacaglia,motet,binaryorternaryform, sonataform,etc). Conclusively,Papaioannou'steachingapproach,realisedthroughtheinventionanduse of the described educational corpus, succeeds in developing the student's creativity, sinceitfocusesontheevolutionofmusicalstructuresintohistoricallydefinedmusical compositions, and not just on the observation of rules and the avoidance of technical mistakes. Of course, as already mentioned, the profound educational outcome of this creative teaching approach was not achieved by the above categorised exercises themselves,butbytheflexibilityandversatilityoftheirusebythespecificteacher.the teaching material was invented during the lesson, without any preidetermined curriculum or method, so that the educational objective and its difficulty level was directlydefinedbythecapacitiesandneedsofeachstudent. Of course, Papaioannou was himself influenced by existing teaching approaches, compositionaltheoriesandeducationaltextbooks.mostofthemhavebeenfoundinhis personallibrary(whichhasbeendonatedbythecomposer'swidowtothelibraryofthe Ionian University), together with numerous handwritten notes and comments. The deliberate study of this material is indicated by the multiilanguage comments and instructions and terms found in YAP's handwritten exercises (languages encountered includegreek,english,german,frenchanditalian). 12 Someofthesetextbooksare: PaulHindemith:A+concentrated+course+in+traditional+harmony+ 11PapaioannouusestheoriginalRiemanniantheoryandfunctionalsymbols,asformulatedinVereinfachte+ Harmonielehre+oder+die+Lehre+von+den+tonalen+Funktionen+der+Akkorde(1893),andnotthesimplernewer versionsofhermanngrabner,wilhelmmaleranddietherdelamotte.itisworthmentioningthathe learnedthetheorybystudyingthefrenchtranslationofriemann'sbook,whichheboughtwhileinparis in1949i However,thetranscribeditemsreducethenumberoflanguagesusedtotwo:GreekandEnglish.This decision was taken by the research team on the basis that extended multiilingual instructions would demotetheexercises'intelligibilityandusability. 128

23 HugoRiemann:Manuel+de+l'+harmonie HermannGrabner:Handbuch+der+functionellen+Harmonielehre KnudJeppesen:Kontrapunkt AndréGedalge:Traité+de+la+Fugue Vincentd'Indy:Cours+de+composition+musicale ArnoldSchoenberg:Models+for+beginners+in+composition ErwinRatz:Einfuhrung+in+die+musikalische+Formenlehre HerbertEimert:Lehrbuch+der+Zwölftontechnik+ GeorgePerle:Serial+Composition+and+Atonality Nevertheless, regardless of his influences, YAP had the exceptional ability to combine the material he studied and arrive at a personal distinctive teaching style. In a similar way, through the deliberate study of music theory books and the analysis of masterworks, he developed and finally formulated his own compositional style. Consequently, equally important to Papaioannou's composition teaching was music analysis.thestudyofmasterworksfromthefullrangeofmusichistorywasconsidered by YAP essential for the education of the contemporary composer, and it occupied considerabletimeandeffortinhislessons.papaioannoubelievedinthecontinuationof alongtraditionandtotheconstantevolutionofartmusic,andheconsideredhisown musiciaswellashisstudents'ibelongingtothistradition. At this point, it would be useful to cite some similar and chronologically parallel approachestoharmonyandtonalcompositionteaching.paulhindemith'sapproach(a+ concentrated+course+in+traditional+harmony,1943&1949) 13 toharmonyteachingshares YAP's attitude of giving a few basic principles and focusing on compositionally interestingexercises,butitlackstheconnectiontohistoricallyspecifiedstyle.perhaps, Olivier Messiaen's approach (Vingt+ leçons+ d + Harmonie, 1951) is closer, with its stylisticallydefinedexercisesthatcoverthefullhistoricalrangeofharmonicevolution. Arnold Schoenberg also taught composition through the study of the great classical tradition (Models+ for+ beginners+ in+ composition, and+ Fundamentals+ of+ musical+ composition, 1967) emphasising in motivicithematic issues. Walter Piston (Harmony, 1941) achieves a conflation between harmonic theory and history through the use of musical excerpts, while Diether de la Motte (Harmonielehre, 1976) gives a good historical perspective to harmony teaching by studying periods chronologically, however without compositionally inspired exercises. Recent approaches to tonal compositionandtheoryteachingconvergewithpapaioannou'sattitude.duringthelast decades,mostmusicacademicinstitutesanduniversitiescreatetheircurriculumswith similartargets,regardinghistoricalawarenessofharmony/counterpoint/composition textbooks and assignment types. Textbooks such as Kostka & Payne's+ Tonal+ Harmony (2000),Butterworth'sStylistic+Harmony(1992)orCook'sAnalysis+through+Composition (1996) emphasize stylistically defined tonal harmony and composition and encourage thestudent'scontactwithmusicalformsandinstrumentation.somethingthatdeserves to be stressed is the fact that Papaioannou was able to teach successfully all musical styles,fromrenaissancepolyphonytothemostrecentavantigardetechniques. 13Probably YAP used Hindemith's book in an early stage of his teaching career. This is testified by a remarkablesolutionofahindemithharmonyexercisefoundinoneofpapaioannou'shandwrittenpaper sheets(sheetiv137r+v). 129

24 But, regardless of how important this voluminous teaching material may be for the musicologist and composition teacher or student, ultimately it cannot replace the teaching experience and the unique intellectual and artistic contact created between teacherandstudentduringthelessonitself.needlesstosay,thisremarkgainsfurther validity when it refers to Yannis Papaioannou, a man whose noble and generous personality inspired and guided a whole generation of Greek composers, theorists, teachersandmusiciansandleftapermanentcreativeimprintintotheirsouls. References* Andriotis, Petros, "The composer Yannis A. Papaioannou through his teaching", Moussikos+Hellinomnimon7(2010),20I35[Ανδριώτης,Πέτρος,"ΟσυνθέτηςΓιάννηςΑ. Παπαϊωάννουμέσααπότηδιδασκαλίατου",Μουσικός+Ελληνομνήμων7(2010),20I35]. Butterworth,Anna,Stylistic+Harmony(London:OxfordUniversityPress,1992). Capsalis, Achilleas, Educational+ Psychology (Thessaloniki: Kyriakidis Bros Publishing, 1990) [Καψάλης, Αχιλλέας, Παιδαγωγική+ Ψυχολογία (Θεσσαλονίκη: Εκδοτικός Οίκος αφώνκυριακίδη,1990)]. Cook,Nicholas,Analysis+through+composition(NewYork:OxfordUniversityPress,1996). Dubois, Theodore, Traité+ d'harmonie+ théorique+ et+ pratique (Paris: Editions Lemoine, 1921). Hindemith, Paul, A+ concentrated+ course+ in+ traditional+ Harmony,+vol. I & II (New York: AssociatedMusicPublishersInc.,1943&1949). Kalogeropoulos, Takis, Dictionary+ of+ Greek+ Music (Athens: Yallelis Editions, 1998) [Καλογερόπουλος, Τάκης, Λεξικό+ της+ Ελληνικής+ Μουσικής (Αθήνα: Εκδόσεις Γιαλλέλη, 1998)]. Kostka,Stefan&Payne,Dorothy,Tonal+Harmony(Boston:McGrawIHill,2000). Messian, Olivier, Vingt+ leçons+ d + Harmonie (Paris: Editions Musicales Alphonse Leduc, 1951). delamotte,diether,harmonielehre(kassel:barenreiteriverlag,1976). Piston,Walter,Harmony(NewYork:Norton&Company,1941). Riemann,Hugo,Vereinfachte+Harmonielehre,+oder+die+Lehre+von+den+tonalen+Funktionen+ der+ Akkorde+ (London: Augener, 1893); transl. H. Bewerung as+ Harmony+ Simplified,+ London:Augener,1896). Schoenberg,Arnold,Models+for+beginners+in+composition(NewYork:Schirmer,1943). Schoenberg, Arnold, Fundamentals+ of+ musical+ composition (London: Faber & Faber, 1967). Symeonidou, Aleka, Dictionary+ of+ Greek+ Composers (Athens: Philippos Nakas, 1995) [Συμεωνίδου, Αλέκα, Λεξικό+ Ελλήνων+ Συνθετών (Αθήνα: Εκδόσεις Φίλιππος Νάκας, 1995)]. 130

25 Tsougras,Costas,"Y.A.PapaioannouasateacherIAcreativeapproachtotonalharmony teaching", Proceedings+ of+ the+ 4th+ conference+ of+ the+ Greek+ Society+ for+ Music+ Education (GSME,2005),163I176[Τσούγκρας,Κώστας,"ΟΓ.Α.#Παπαϊωάννου#ως#δάσκαλοςIΜια δημιουργική προσέγγιση της διδασκαλίας της τονικής αρμονίας", Πρακτικά+ του+ 4ου+ συνεδρίου+της+ελληνικής+ένωσης+για+τη+μουσικής+εκπαίδευση(εεμε,2005),163i176]. Yannou,Demetre,"YannisA.Papaioannouasateacher",inYannis+A.+Papaioannou+<+The+ composer,+ the+ teacher+ <+ Quest+ and+ vanguard (Athens: Benaki Museum, 2004), 118I131 [Γιάννου, Δημήτρης, "Ο Γιάννης Ανδρέου Παπαϊωάννου ως δάσκαλος I Το διδακτικό έργο: γεγονότα και σκέψεις", στο Γιάννης+ Α.+ Παπαϊωάννου+ <+ Ο+ συνθέτης,+ ο+ δάσκαλος+ <+ Αναζήτηση+και+πρωτοπορία+(Αθήνα:ΕκδόσειςΜουσείουΜπενάκη,2004)]. 131