Stefanos Fevgalas
Phd Candidate, Music Department, University of Ioannina.
MA Historical Research, Teaching and New Technologies, History Department, Ionian University.
MA Public History, Hellenic Open University.
Music Studies (integrated Master), National and Kapodistrian University of Athens.
BA Studies in Greek Civilization, Hellenic Open University.
Diploma in Composition.
Degrees in Piano, Harmony, Counterpoint and the Fugue
Degree in Byzantine Music.
Studies in Ottoman Music.
Books (together with Lamprogiannis Pefanis):
Musical Transcriptions I - 184 instrumental tunes from the Aegean and Ionian Seas, Crete and Cyprus (Papagrigoriou-Nakas Publications, 2014).
Musical Transcriptions II - 200 instrumental tunes from Thrace, Macedonia, Epirus, Thessaly, Central Greece and the Peloponnese (Papagrigoriou-Nakas Publications, 2016).
Kariotikos - Versions of the ikarian instrumental tune (Papagrigoriou-Nakas Publications, 2017).
Musical Transcriptions III - 216 instrumental tunes from Asia Minor, the Pontus, Cappadocia, Azov Sea and Southern Italy (Papagrigoriou-Nakas Publications, 2020)
MA Historical Research, Teaching and New Technologies, History Department, Ionian University.
MA Public History, Hellenic Open University.
Music Studies (integrated Master), National and Kapodistrian University of Athens.
BA Studies in Greek Civilization, Hellenic Open University.
Diploma in Composition.
Degrees in Piano, Harmony, Counterpoint and the Fugue
Degree in Byzantine Music.
Studies in Ottoman Music.
Books (together with Lamprogiannis Pefanis):
Musical Transcriptions I - 184 instrumental tunes from the Aegean and Ionian Seas, Crete and Cyprus (Papagrigoriou-Nakas Publications, 2014).
Musical Transcriptions II - 200 instrumental tunes from Thrace, Macedonia, Epirus, Thessaly, Central Greece and the Peloponnese (Papagrigoriou-Nakas Publications, 2016).
Kariotikos - Versions of the ikarian instrumental tune (Papagrigoriou-Nakas Publications, 2017).
Musical Transcriptions III - 216 instrumental tunes from Asia Minor, the Pontus, Cappadocia, Azov Sea and Southern Italy (Papagrigoriou-Nakas Publications, 2020)
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Books Gr by Stefanos Fevgalas
αποτύπωση του υλικού έχει γίνει με κριτήριο την ανάδειξη του μουσικού ύφους των παλαιότερων γενεών, λαμβάνοντας υπόψη ότι σε αυτό το ύφος αντανακλάται το αισθητικό κριτήριο που αντιστοιχεί σε
συγκεκριμένες ιστορικές φάσεις. Το υλικό μπορεί να αποτελέσει
αντικείμενο ανάλυσης διάφορων παραμέτρων (μουσικοί τρόποι, ρυθμική διάρθρωση, διάνθιση, μορφή, κ.λπ.) και ταυτόχρονα μπορεί
να αποτελέσει ύλη στη διδασκαλία των μουσικών οργάνων.
This third volume of musical transcriptions rounds off the presentation of 600 versions of Greek instrumental tunes from the islands and mainland of Greece, Cyprus, Asia Minor, the coastal regions of the Sea of Marmara, the Pontus, and the Azov Sea, and Southern Italy. The sound recordings used as sources for the transcriptions include old recordings held in archives as well as gramophone records. Accordingly, what is achieved when transcribing these recordings as a musical score is the overall depiction of the musical style of older generations of performers, besides the personal style of individual musicians. This enables the presentation of the diversity as well as the similarities that can be found across the various geographical and cultural spaces covered in this volume. The material presented herein can be used for analyzing various musical parameters (modality, rhythmical structure, form, style, and so on), exploring historical developments and social changes, and teaching specific musical instruments.
This volume presents in musical notation some of the instrumental musical tradition of Thrace, Macedonia, Epirus, Thessaly, Central Greece and the Peloponnese. The pieces here include instrumental tunes, and some instrumental versions of songs that depart to a greater or lesser degree from the song format. Our intention here has been to give as clear a depiction as possible of the musical mode of expression of earlier generations, while recognizing that this mode of expression reflects the collective taste and musical aesthetic at particular moments in the past. The criterion for inclusion was the degree of completeness, i.e. we required that the specific version of the instrumental tune be set out as fully as possible. The material presented here can be analyzed from various perspectives (musical modes, form, melodic movement and embellishment, and so on), but can also serve as material for teaching the art of playing musical instruments.
Papers by Stefanos Fevgalas
αποτύπωση του υλικού έχει γίνει με κριτήριο την ανάδειξη του μουσικού ύφους των παλαιότερων γενεών, λαμβάνοντας υπόψη ότι σε αυτό το ύφος αντανακλάται το αισθητικό κριτήριο που αντιστοιχεί σε
συγκεκριμένες ιστορικές φάσεις. Το υλικό μπορεί να αποτελέσει
αντικείμενο ανάλυσης διάφορων παραμέτρων (μουσικοί τρόποι, ρυθμική διάρθρωση, διάνθιση, μορφή, κ.λπ.) και ταυτόχρονα μπορεί
να αποτελέσει ύλη στη διδασκαλία των μουσικών οργάνων.
This third volume of musical transcriptions rounds off the presentation of 600 versions of Greek instrumental tunes from the islands and mainland of Greece, Cyprus, Asia Minor, the coastal regions of the Sea of Marmara, the Pontus, and the Azov Sea, and Southern Italy. The sound recordings used as sources for the transcriptions include old recordings held in archives as well as gramophone records. Accordingly, what is achieved when transcribing these recordings as a musical score is the overall depiction of the musical style of older generations of performers, besides the personal style of individual musicians. This enables the presentation of the diversity as well as the similarities that can be found across the various geographical and cultural spaces covered in this volume. The material presented herein can be used for analyzing various musical parameters (modality, rhythmical structure, form, style, and so on), exploring historical developments and social changes, and teaching specific musical instruments.
This volume presents in musical notation some of the instrumental musical tradition of Thrace, Macedonia, Epirus, Thessaly, Central Greece and the Peloponnese. The pieces here include instrumental tunes, and some instrumental versions of songs that depart to a greater or lesser degree from the song format. Our intention here has been to give as clear a depiction as possible of the musical mode of expression of earlier generations, while recognizing that this mode of expression reflects the collective taste and musical aesthetic at particular moments in the past. The criterion for inclusion was the degree of completeness, i.e. we required that the specific version of the instrumental tune be set out as fully as possible. The material presented here can be analyzed from various perspectives (musical modes, form, melodic movement and embellishment, and so on), but can also serve as material for teaching the art of playing musical instruments.