{"id":3452,"date":"2024-06-09T23:51:40","date_gmt":"2024-06-09T20:51:40","guid":{"rendered":"https:\/\/ece.uth.gr\/?page_id=3452"},"modified":"2024-07-09T21:17:05","modified_gmt":"2024-07-09T18:17:05","slug":"theory-and-practice-of-musical-improvisation","status":"publish","type":"page","link":"https:\/\/ece.uth.gr\/en\/course\/theory-and-practice-of-musical-improvisation\/","title":{"rendered":"Theory and Practice of Musical Improvisation"},"content":{"rendered":"<p><strong>Course Code (in greek)<\/strong>: \u039a\u03a41365<\/p>\n<p><strong>ECTS Units<\/strong>: 5<\/p>\n<p><strong>Semester<\/strong>: 6<\/p>\n<p><strong>Professor<\/strong>: Adjunct Professor<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Course description<\/strong><\/p>\n<p style=\"font-weight: 400;\">Critical examination of the concept of improvisation and its manifestation in different musics and forms of musical practice. Approaches to the role of improvisation in education. Sustained engagement with music improvisation practice, so as to foster the development of an in-depth understanding of improvised music-making and its educational potential.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Learning outcomes<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>\u00a0<\/strong>In this course students are expected to<\/p>\n<ul style=\"font-weight: 400;\">\n<li>critically discuss various definitions of improvisation as well as its relationship with related notions of composition, performance and listening, as well as with the concepts of invention, variation, and indeterminacy<\/li>\n<li>acquire a basic understanding of the multiplicity of improvisational practices in various musics<\/li>\n<li>discuss how children employ improvisational process in different contexts<\/li>\n<li>aknowledge the importance of music improvisation in music education<\/li>\n<li>improvise, solo, or in groups, based on a variety basic of improvisational techniques<\/li>\n<\/ul>\n<p style=\"font-weight: 400;\">\n<p style=\"font-weight: 400;\"><strong>Assessment<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>\u00a0<\/strong>Assessment takes place at the end of the term and involves (a) written exams \u00a0(b) presentation of an improvised performance that employs specific improvisational techniques and formats studied in the course of our meetings.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Teaching methods<\/strong><\/p>\n<p style=\"font-weight: 400;\">Direct involvement in improvisational activities both in large and small groups, lectures, reflective dialogical inquiry centered on issues that emerge in our practical work.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>Recommended literature<\/strong><\/p>\n<p style=\"font-weight: 400;\">Addison, R. (1988). A new look at musical improvisation in education.\u00a0British Journal of Music Education,\u00a05(3), 255-267.<\/p>\n<p style=\"font-weight: 400;\">Agrell, J. (2008).\u00a0Improvisation Games for Classical Musicians: 500+ Non-jazz\u00a0Games for Performers, Educators, and Everyone Else. Chicago: GIA\u00a0Publications.<\/p>\n<p style=\"font-weight: 400;\">Alperson, P. (1984). On musical improvisation.\u00a0The Journal of Aesthetics and Art Criticism,\u00a043(1), 17-29.<\/p>\n<p style=\"font-weight: 400;\">Bailey, D. (1992).\u00a0Improvisation.\u00a0London: The British Library National Sound Archive.<\/p>\n<p style=\"font-weight: 400;\">Basic, E. (1988). O A\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2 \u03c9\u03c2 \u0394\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03b9\u03ba\u03cc M\u03ae\u03bd\u03c5\u03bc\u03b1. \u03a3\u03c4\u03bf Wolfgang Stumme (\u03b5\u03c0\u03b9\u03bc.),\u00a0O A\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2. \u0391\u03b8\u03ae\u03bd\u03b1: \u039d\u03ac\u03c3\u03bf\u03c2.<\/p>\n<p style=\"font-weight: 400;\">Benson, B. E. (2003).\u00a0The Improvisation of Musical Dialogue: A Phenomenology of Music. Cambridge: Cambridge University Press.<\/p>\n<p style=\"font-weight: 400;\">Berliner, P. F. (1994).\u00a0\u00a0Thinking in Jazz: The Infinite Art of Improvisation.\u00a0\u00a0Chicago: The University of Chicago Press.<\/p>\n<p style=\"font-weight: 400;\">Brockmann, N. M. (2009).\u00a0From Sight to Sound: Improvisation Games for Classical Musicians. \u039c\u03c0\u03bb\u03bf\u03cd\u03bc\u03b9\u03bd\u03b3\u03c4\u03bf\u03bd: Indiana University Press.<\/p>\n<p style=\"font-weight: 400;\">Campbell, P. S. (2009). Learning to improvise music, improvising to learn music. . In G. Solis &amp; B. Nettl (Eds.),\u00a0Musical Improvisation: Art, Education, and Society\u00a0(pp. 119-142). Urbana: University of Illinois Press.<\/p>\n<p style=\"font-weight: 400;\">Fischlin. D. , Heble, A. , Lipsitz, G. (Eds.) (2013).\u00a0The Fierce of Now:\u00a0Improvisation, Rights, and the Ethics of Co-creation. Durham: Duke University Press.<\/p>\n<p style=\"font-weight: 400;\">Green, L. (2014).\u00a0\u0386\u03ba\u03bf\u03c5, \u0391\u03ba\u03c1\u03bf\u03ac\u03c3\u03bf\u03c5, \u03a0\u03b1\u03af\u03be\u03b5!: \u03a0\u03ce\u03c2 \u03bd\u03b1 \u03b1\u03c0\u03b5\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03ce\u03c3\u03b5\u03c4\u03b5 \u03c4\u03b7\u03bd \u03b1\u03ba\u03bf\u03c5\u03c3\u03c4\u03b9\u03ba\u03ae \u03b1\u03bd\u03c4\u03af\u03bb\u03b7\u03c8\u03b7 \u03c4\u03c9\u03bd \u03bc\u03b1\u03b8\u03b7\u03c4\u03ce\u03bd \u03c3\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03b9\u03c2 \u03b4\u03b5\u03be\u03b9\u03cc\u03c4\u03b7\u03c4\u03ad\u03c2 \u03c4\u03bf\u03c5\u03c2 \u03c3\u03c4\u03bf\u03bd \u03b1\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03b5\u03ba\u03c4\u03ad\u03bb\u03b5\u03c3\u03b7. A\u03b8\u03ae\u03bd\u03b1:\u00a0\u03a6\u03b1\u03b3\u03ba\u03cc\u03c4\u03bf.<\/p>\n<p style=\"font-weight: 400;\">Goldstaub, Paul. (1996). Opening the door to classroom improvisation.\u00a0Music Educators Journal,\u00a082(5), 45-51.<\/p>\n<p style=\"font-weight: 400;\">Hall, E. T. (1992).\u00a0\u00a0Improvisation as an acquired, multilevel process.\u00a0\u00a0Ethnomusicology,\u00a036(2), 223-235.<\/p>\n<p style=\"font-weight: 400;\">Hickey, M. (2009).\u00a0\u00a0Can improvisation be taught? A call for free improvisation in our schools.\u00a0International Journal of Music Education,27(4), 285\u2013299.<\/p>\n<p style=\"font-weight: 400;\">Hobsbawm, E. (1988).\u00a0\u0397 \u03a3\u03ba\u03b7\u03bd\u03ae \u03c4\u03b7\u03c2 \u03a4\u03b6\u03b1\u03b6\u00a0(\u03bc\u03c4\u03c6\u03c1. \u03a4. \u03a4\u03c3\u03ae\u03c1\u03bf\u03c2).\u00a0\u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03be\u03ac\u03bd\u03c4\u03b1\u03c2<\/p>\n<p style=\"font-weight: 400;\">Horsley, I., Collins, M., Badura-Scoda, E. &amp; Libby, D. (1980).\u00a0\u00a0Improvisation in Western Art Music.\u00a0\u00a0In S. Sadie (Ed.),\u00a0The New Grove Dictionary of Music and Musicians, Vol. 9 (pp. 31-52).\u00a0\u00a0London: Macmillan.<\/p>\n<p style=\"font-weight: 400;\">Ingold, T. , Hallam, E. (2007). Creativity and Cultural Improvisation: An Introduction. \u03a3\u03c4\u03bf \u0395. Hallasm &amp; \u03a4. Ingold (\u03b5\u03c0\u03b9\u03bc.),\u00a0Creativity and Cultural Improvisation. Oxford: Berg Publishers.<\/p>\n<p style=\"font-weight: 400;\">Johnstone, \u039a. (1981\/2010).\u00a0Impro, o A\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2 \u03c3\u03c4\u03bf \u0398\u03ad\u03b1\u03c4\u03c1\u03bf\u00a0(\u03bc\u03c4\u03c6\u03c1. \u0391. \u0393\u03b1\u03c1\u03b5\u03c6\u03b1\u03bb\u03ac\u03ba\u03b7). \u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039f\u03ba\u03c4\u03ce.<\/p>\n<p style=\"font-weight: 400;\">Jensen. M. (2009).\u00a0Making the Contours of the Eternal Moment: Indeterminate Scores 2002-2009.\u00a0Kingston, NY: Deep Listening Institute.<\/p>\n<p style=\"font-weight: 400;\">Kanellopoulos, P. A. (2007) Musical Improvisation as Action: An arendtian perspective,\u00a0Action, Criticism, and Theory for Music Education,6:3, pp. 97-127, available at:\u00a0<a href=\"http:\/\/act.maydaygroup.org\/articles\/Kanellopoulos6_3.pdf\">http:\/\/act.maydaygroup.org\/articles\/Kanellopoulos6_3.pdf<\/a>\u00a0Accessed 11\/16\/2007.<\/p>\n<p style=\"font-weight: 400;\">Kanellopoulos, P. \u0391. (2007).\u00a0\u00a0Children\u2019s early reflections on improvised music-making as the wellspring of musico-philosophical thinking.\u00a0Philosophy of Music Education Review, 15(2), 119-141.<\/p>\n<p style=\"font-weight: 400;\">Kanellopoulos, P.\u00a0\u0391. (2011). Freedom and Responsibility in Musical Improvisation: A view from Bakhtin.\u00a0Philosophy of Music Education Review, 19(2), 113-135.<\/p>\n<p style=\"font-weight: 400;\">Kanellopoulos, P. \u0391. (2012). Envisioning Autonomy through Improvising and Composing: Castoriadis visiting creative music education practice.\u00a0Educational Philosophy and Theory, 44(2), 151-182.<\/p>\n<p style=\"font-weight: 400;\">Keyes, C. (2000).\u00a0\u00a0Teaching improvisation and 20th century idioms.\u00a0\u00a0Music Educators Journal, 86(6), 17-22.<\/p>\n<p style=\"font-weight: 400;\">Kratus, J. (1991). Growing with improvisation.\u00a0Music Educators Journal,\u00a078(4), 35-40.<\/p>\n<p style=\"font-weight: 400;\">Kratus, J. (1995). A developmental approach to teaching music improvisation.\u00a0International Journal of Music Education,\u00a026(2), 27-38.<\/p>\n<p style=\"font-weight: 400;\">Murray-Schafer, R. (1986).\u00a0The Thinking Ear.\u00a0Toronto: Arcana.<\/p>\n<p style=\"font-weight: 400;\">Nettl, B. , Russell, M. (\u03b5\u03c0\u03b9\u03bc.) (1998).\u00a0In the Course of Performance: Studies in the World of Musical Improvisation.\u00a0\u00a0Chicago: The University of Chicago Press.<\/p>\n<p style=\"font-weight: 400;\">Nettl, B. (1974). On musical improvisation.\u00a0The Musical Quarterly, 60(1), 1-19.<\/p>\n<p style=\"font-weight: 400;\">Nyman, M. (2012).\u00a0\u00a0\u03a0\u03b5\u03b9\u03c1\u03b1\u03bc\u03b1\u03c4\u03b9\u03ba\u03ae \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u00a0(\u03bc\u03c4\u03c6\u03c1. \u0394\u03b1\u03bd\u03ac\u03b7 \u03a3\u03c4\u03b5\u03c6\u03ac\u03bd\u03bf\u03c5).\u00a0\u00a0\u0391\u03b8\u03ae\u03bd\u03b1: \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039f\u03ba\u03c4\u03ce.<\/p>\n<p style=\"font-weight: 400;\">Oliveros. P. (2005).\u00a0Deep Listening: A Composer&#8217;s Sound Practice. NY: iUniverse, Inc.<\/p>\n<p style=\"font-weight: 400;\">Oliveros, P. (2004) Harmonic Anatomy: Women in improvisation,\u00a0in: D. Fischlin &amp; A. Heble (eds)\u00a0The Other Side of Nowhere: Jazz, improvisation, and communities in dialogue\u00a0(Middletown, Wesleyan University Press) pp. 50-70.<\/p>\n<p style=\"font-weight: 400;\">Ong, W. J. (1982\/2001).\u00a0\u00a0\u03a0\u03c1\u03bf\u03c6\u03bf\u03c1\u03b9\u03ba\u03cc\u03c4\u03b7\u03c4\u03b1 \u03ba\u03b1\u03b9 \u0395\u03b3\u03b3\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03bf\u03c3\u03cd\u03bd\u03b7\u00a0(\u03bc\u03c4\u03c6\u03c1. \u039a. \u03a7\u03b1\u03c4\u03b6\u03b7\u03ba\u03c5\u03c1\u03b9\u03ac\u03ba\u03bf\u03c5). \u0397\u03c1\u03ac\u03ba\u03bb\u03b5\u03b9\u03bf: \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03b9\u03b1\u03ba\u03ad\u03c2 \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039a\u03c1\u03ae\u03c4\u03b7\u03c2.<\/p>\n<p style=\"font-weight: 400;\">Paynter, J. (1992).\u00a0\u00a0Sound and Structure.\u00a0\u00a0Cambridge: Cambridge University Press.<\/p>\n<p style=\"font-weight: 400;\">Pressing, J. (1984). Cognitive Processes in Improvisation. \u03a3\u03c4\u03bf W. Ray Crozier &amp; A. J. Chapman (\u0395\u03c0.),\u00a0Cognitive Processes in the Perception of Art. Amsterdam: Elsevier Science Publishers B. V..<\/p>\n<p style=\"font-weight: 400;\">Pr\u00e9vost, E. (1995).\u00a0No Sound is Innocent: AMM and The Practice of Self-Invention. Meta-Musical Narratives. Essays. Essex: Copula.<\/p>\n<p style=\"font-weight: 400;\">Reynolds, R. (1965).\u00a0\u00a0Indeterminacy: Some considerations.\u00a0Perspectives of New Music, 4(1), 136-140.<\/p>\n<p style=\"font-weight: 400;\">Sarath, E. (2010).\u00a0Music Theory Through Improvisation: A New Approach to Musicianship Training. New York: Routledge.<\/p>\n<p style=\"font-weight: 400;\">Sarath, E. W. (1993). Improvisation for global musicianship.\u00a0Music Educators Journal, 80(2): 23-26.<\/p>\n<p style=\"font-weight: 400;\">Smith, L. (1982).\u00a0\u03a3\u03b7\u03bc\u03b5\u03b9\u03ce\u03c3\u03b5\u03b9\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7 \u03a6\u03cd\u03c3\u03b7 \u03c4\u03b7\u03c2 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2. \u0391\u03b8\u03ae\u03bd\u03b1: \u039d\u03b5\u03c6\u03ad\u03bb\u03b7.<\/p>\n<p style=\"font-weight: 400;\">Treitler, L. (1991). Medieval improvisation.\u00a0The World of Music, 33(3), 66-91.<\/p>\n<p style=\"font-weight: 400;\">Vella, R. (2003).\u00a0Sounds in Space, Sounds in Time. London: Boosey &amp; Hawkes.<\/p>\n<p style=\"font-weight: 400;\">\u039a\u03b1\u03ba\u03bf\u03cd\u03c1\u03b7, \u039a\u03b1\u03c4\u03b5\u03c1\u03af\u03bd\u03b1, \u0399. (1965\u03b1). \u0391\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03cc\u03c2 \u03ba\u03b1\u03b9 \u03b8\u03ad\u03b1\u03c4\u03c1\u03bf: \u03c4\u03bf \u03bb\u03b1\u03ca\u03ba\u03cc \u03c0\u03b1\u03bd\u03b7\u03b3\u03cd\u03c1\u03b9 \u03c0\u03c1\u03bf\u03b1\u03b9\u03ce\u03bd\u03b9\u03b1 \u03c1\u03af\u03b6\u03b1.\u00a0\u0398\u03ad\u03b1\u03c4\u03c1\u03bf,\u00a022, 79-84.<\/p>\n<p style=\"font-weight: 400;\">\u039a\u03b1\u03bd\u03b5\u03bb\u03bb\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u03a0. \u0391. (2010).\u00a0\u00a0\u03a0\u03c1\u03bf\u03c3\u03b5\u03b3\u03b3\u03af\u03c3\u03b5\u03b9\u03c2 \u03c3\u03c4\u03b7\u03bd \u03ad\u03bd\u03bd\u03bf\u03b9\u03b1 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03bd \u03c0\u03b1\u03b9\u03b4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ae \u03c3\u03b7\u03bc\u03b1\u03c3\u03af\u03b1 \u03c4\u03bf\u03c5 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03bf\u03cd \u03b1\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd: \u03c3\u03c7\u03b5\u03b4\u03af\u03b1\u03c3\u03bc\u03b1 \u03bc\u03b9\u03b1\u03c2 \u03c0\u03c1\u03cc\u03c4\u03b1\u03c3\u03b7\u03c2.\u00a0\u00a0\u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03cc\u03c2 \u039b\u03cc\u03b3\u03bf\u03c2, 9, 5-36.<\/p>\n<p style=\"font-weight: 400;\">\u039a\u03b1\u03bd\u03b5\u03bb\u03bb\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u03a0. \u0391. (2013). \u0391\u03bd\u03b1\u03b6\u03b7\u03c4\u03ce\u03bd\u03c4\u03b1\u03c2 \u03c4\u03bf\u03bd \u03c1\u03cc\u03bb\u03bf \u03c4\u03bf\u03c5 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03bf\u03cd \u0391\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd \u03c3\u03c4\u03b7 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u0395\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7: \u039f\u03b9 \u03c0\u03b1\u03b9\u03b4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ad\u03c2 \u03b4\u03c5\u03bd\u03b1\u03c4\u03cc\u03c4\u03b7\u03c4\u03b5\u03c2 \u03c4\u03b7\u03c2 \u03ba\u03b1\u03bb\u03bb\u03b9\u03ad\u03c1\u03b3\u03b5\u03b9\u03b1\u03c2 \u03c4\u03b7\u03c2 (\u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae\u03c2) \u03b5\u03bb\u03b5\u03c5\u03b8\u03b5\u03c1\u03af\u03b1\u03c2.\u00a0\u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03bf\u03c0\u03b1\u03b9\u03b4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ac, (\u0395\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03bf\u03bd\u03b9\u03ba\u03ae \u0395\u03c0\u03b9\u03b8\u03b5\u03ce\u03c1\u03b7\u03c3\u03b7 \u03c4\u03b7\u03c2 \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae\u03c2 \u0388\u03bd\u03c9\u03c3\u03b7\u03c2 \u03b3\u03b9\u03b1 \u03c4\u03b7 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u0395\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7), \u03c4. 11, 5-43.<\/p>\n<p style=\"font-weight: 400;\">\u039a\u03b1\u03bd\u03b5\u03bb\u03bb\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u03a0. (2010).\u00a0\u03a3\u03c7\u03b5\u03b4\u03af\u03b1\u03c3\u03bc\u03b1 \u03bc\u03b9\u03b1\u03c2 \u03c0\u03b1\u03b9\u03b4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ae\u03c2 \u03c4\u03bf\u03c5 \u03b5\u03bb\u03b5\u03cd\u03b8\u03b5\u03c1\u03bf\u03c5 \u03bc\u03bf\u03c5\u03c3\u03b9\u03ba\u03bf\u03cd \u03b1\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03cd. \u03a3\u03c4\u03bf \u03a0. \u0391. \u039a\u03b1\u03bd\u03b5\u03bb\u03bb\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2 &amp; \u039d. \u03a4\u03c3\u03b1\u03c6\u03c4\u03b1\u03c1\u03af\u03b4\u03b7\u03c2 (\u0395\u03c0\u03b9\u03bc).\u00a0\u0397 \u03a4\u03ad\u03c7\u03bd\u03b7 \u03c3\u03c4\u03b7\u03bd \u0395\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7 \u2013 \u03b7 \u0395\u03ba\u03c0\u03b1\u03af\u03b4\u03b5\u03c5\u03c3\u03b7 \u03c3\u03c4\u03b7\u03bd \u03a4\u03ad\u03c7\u03bd\u03b7\u00a0(\u03c3\u03c3.119-146). \u0391\u03b8\u03ae\u03bd\u03b1: \u039d\u03ae\u03c3\u03bf\u03c2.<\/p>\n<p style=\"font-weight: 400;\">\u039a\u03b1\u03c3\u03c4\u03bf\u03c1\u03b9\u03ac\u03b4\u03b7\u03c2, \u039a. (2001).\u00a0\u00a0\u0391\u03bd\u03b8\u03c1\u03c9\u03c0\u03bf\u03bb\u03bf\u03b3\u03af\u03b1, \u03a0\u03bf\u03bb\u03b9\u03c4\u03b9\u03ba\u03ae, \u03a6\u03b9\u03bb\u03bf\u03c3\u03bf\u03c6\u03af\u03b1: \u03a0\u03ad\u03bd\u03c4\u03b5 \u0394\u03b9\u03b1\u03bb\u03ad\u03be\u03b5\u03b9\u03c2 \u03c3\u03c4\u03b7 \u0392\u03cc\u03c1\u03b5\u03b9\u03bf \u0395\u03bb\u03bb\u03ac\u03b4\u03b1.\u00a0\u00a0\u0391\u03b8\u03ae\u03bd\u03b1: \u038e\u03c8\u03b9\u03bb\u03bf\u03bd.<\/p>\n<p style=\"font-weight: 400;\">\u039a\u03b9\u03bf\u03c5\u03c1\u03c4\u03c3\u03ac\u03ba\u03b7\u03c2, \u0393. (1983).\u00a0\u03a0\u03c1\u03bf\u03c6\u03bf\u03c1\u03b9\u03ba\u03ae \u03a0\u03b1\u03c1\u03ac\u03b4\u03bf\u03c3\u03b7 \u03ba\u03b1\u03b9 \u039f\u03bc\u03b1\u03b4\u03b9\u03ba\u03ae \u0394\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03af\u03b1: \u03a4\u03bf \u03a0\u03b1\u03c1\u03ac\u03b4\u03b5\u03b9\u03b3\u03bc\u03b1 \u03c4\u03bf\u03c5 \u039a\u03b1\u03c1\u03b1\u03b3\u03ba\u03b9\u03cc\u03b6\u03b7. \u0391\u03b8\u03ae\u03bd\u03b1: \u039a\u03ad\u03b4\u03c1\u03bf\u03c2.<\/p>\n<p style=\"font-weight: 400;\">\u03a0\u03b1\u03c0\u03b1\u03b4\u03b7\u03bc\u03b7\u03c4\u03c1\u03af\u03bf\u03c5, \u03a3. (1979).\u00a0\u0398\u03ad\u03bc\u03b1\u03c4\u03b1 \u03ba\u03b1\u03b9 \u03a0\u03c1\u03cc\u03c3\u03c9\u03c0\u03b1 \u03c4\u03b7\u03c2 \u03a3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03b7\u03c2 \u03a4\u03b6\u03b1\u03b6 (1950-1970).\u00a0\u00a0\u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Course Code (in greek): \u039a\u03a41365 ECTS Units: 5 Semester: 6 Professor: Adjunct Professor &nbsp; Course description Critical examination of the concept of improvisation and its manifestation in different musics and forms of musical practice. Approaches to the role of improvisation in education. Sustained engagement with music improvisation practice, so as to foster the development of [&hellip;]<\/p>\n","protected":false},"author":131,"featured_media":188,"parent":556,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-3452","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3452","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/users\/131"}],"replies":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/comments?post=3452"}],"version-history":[{"count":1,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3452\/revisions"}],"predecessor-version":[{"id":3453,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/3452\/revisions\/3453"}],"up":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/pages\/556"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/media\/188"}],"wp:attachment":[{"href":"https:\/\/ece.uth.gr\/en\/wp-json\/wp\/v2\/media?parent=3452"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}