Within the objectives of ALTERA VITA are:

To provide cultural education services, dance schools and dance instructors services Music schools and music teachers and fine arts services and art teachers

To undertake teaching and educational programs and cultural events related to all the arts, in particular and without limitation theater, painting, ceramics, photography, iconography, music / song (instruments, chorus etc.), dance (modern, traditional, ballet, etc.) , film (director, production techniques), both in the individual learning activities, as well as to the presentation of these and history, course and stands in adults and children.


Η Βυζαντινή Μουσική είναι η μουσική της Βυζαντινής Αυτοκρατορίας, που μεταφράζεται και απαρτίζεται αποκλειστικά από ελληνικά κείμενα ως μελωδία. Έλληνες και ξένοι ιστορικοί συμφωνούν ότι αυτές οι μελωδίες, οι εκκλησιαστικοί Ήχοι και γενικά το όλο σύστημα της βυζαντινής μουσικής, συνδέεται στενά με το αρχαίο ελληνικό μουσικό σύστημα. Οι αρχές της χρονολογούνται από ορισμένους μελετητές στον 4ο αιώνα μ.Χ, λίγο μετά τη μεταφορά της πρωτεύουσας της Ρωμαϊκής Αυτοκρατορίας στην Κωνσταντινούπολη από το Μέγα Κωνσταντίνο.

Η βυζαντινή μουσική που διασώζεται, είναι στο σύνολό της εκκλησιαστική, με εξαίρεση κάποιους αυτοκρατορικούς ύμνους, που και αυτοί έχουν θρησκευτικά στοιχεία. Το βυζαντινό άσμα ήταν μονωδικό, σε ελεύθερο ρυθμό και προσπάθησε συχνά να απεικονίσει μελωδικά την έννοια των λέξεων. Η γλώσσα που χρησιμοποιήθηκε ήταν η ελληνική. Ο βυζαντινός ύμνος, του οποίου υπήρξαν τρεις τύποι, ήταν η μέγιστη έκφανση αυτού του μουσικού είδους.

Μέρος της βυζαντινής μουσικής, αν και χρονικά μεταγενέστερο και με αρκετές δυτικές επιρροές, κυρίως από το 1204 και μετά, μπορεί να θεωρηθεί το δημοτικό τραγούδι· διαφέρει από την εκκλησιαστική μουσική στο ότι έχει σταθερό μέτρο, ώστε να εξυπηρετείται και ο χορευτικός σκοπός. Αυτό δεν είναι τυχαίο: στον ίδιο γεωγραφικό χώρο, από τον ίδιο πολιτισμό η μουσική είναι ενιαία. 

Μην ξεχνάμε πως η πρώτη φορά που διδάχθηκε (ευρέως) η δυτική μουσική στον Ελληνικό χώρο, ήταν με την έλευση του Όθωνα. Μέχρι τότε η μουσική που εκτελείτο, ακουγόταν καταγραφόταν και διδασκόταν (εμπειρικά ή/και σε μουσικοδιδασκαλεία) ήταν η βυζαντινή.

Υπεύθυνος εκπαίδευσης: Βασίλης Χασανδρινός

 Διπλωματούχος Βυζαντινής Μουσικής-Πρωτοψάλτης

Φιλόλογος Εθνικού και Καποδιστρικού Παν/μιου Αθηνών

Finding my true voice

 Project Description

 Finding my true voice” is a project dealing with the human singing and talking voice. Through voice many different cultures have very unique and interesting ways to express happiness and sorrow, to express different emotions. Learning about the possibilities of our voice we learn about ourselves and how to interact with others. It opens up a space to understand our common ways to express our feelings to be more productive and successful in our jobs and our life.

It is based on non-formal learning with learning by doing approach. Training exercises are about the best new methods about singing and talking voice technics.  A holistic approach of the voice includes body and mind: Carefully selected activities with body and breathing exercises, about relaxation of the muscles dealing with the voice and empowering diaphragm breathing, outdoor activities that will enhance the intercultural dialogue of young people from different countries, role-playing, small performances in front of the audience, group activities and  gamification  of the overall process will be a new innovative way to learn new skills about the proper use of the voice and how it helps to  have a better life in all its aspects.

The development of our singing identity can benefit other identities. It can lead to self-awareness and improve self-esteem and self-confidence. Performing in front of audiences by talking or singing can significantly contribute to constructing positive self-perception and can lead to a transformation of the young people for a better understanding of themselves.

Singing or talking in front of audiences can then be viewed as an activity which has the capacity to benefit every aspect of who we are. In order to better understand our personal identity, the positive effects of singing can be examined collectively rather than in isolation. This also bears relevance to the importance of singing in the context of the wider community and the feeling of shared identity it can bring about. This activity can help in preventing violent radicalization of young people because they will feel the acceptation, sharing and being part of the community. When singing is done collectively there is synchronization among the singers which symbolizes that there is a universal identity with which they are all connected.

Every complex individual will have a complex set of keys to unlock the various vocal challenges they face. By utilizing various vocal techniques, young people working in groups achieving a true voice. The voice is fundamentally connected to the idea of self.

Actively engaging in the process will serve to enhance the capability of the expressive instrument provides the individual with the feeling that they are getting closer to an understanding of themselves. As they learn to remove extraneous tensions and external layers which inhibit the voice the individual is accessing a more authentic self or something that was inherent and waiting to be accessed.

There are exercises that can enable young people to change their physical habits. Changing physical habits will lead to a change in the way we feel emotionally. Whichever we choose to alter - our psychological state or our physical state - the other will respond.

These targeted exercises facilitate a change in the way one is able to use their vocal apparatus, and this change is reflected in the sound of their voice. The true voice can be understood as many things, ultimately it is whatever the individual wants it to be. The true voice is both a metaphor for truth as well as a philosophy of vocal development. The exercises allow complete enhancement in the practice of the true voice and approach both voice-work and an understanding of personal identity. It provides a way of working, through which individuals can find their own true voice.

Using the exercises to develop their voice will assist the individual in being able to carry out the intention of the words or the music they wish to talk or sing. The exercises are universal and create the same positive behavioural habits in those who use them. The exercises become a means by which to prepare the vocal apparatus to be used in an efficient and correct way. When the voice instrument is in good working order, it can more effectively convey what the voice user wants from their tone, timbre, words, the message, and style of delivery. This new technique will help young people to become a better self and concord their goals. This mobility project combines the below activities:

Equipping youth workers with competences and methods for their professional development by believing more to their selves and their capabilities,

Reaching out to marginalized young people by giving them new tools and competencies to be more efficient and acceptable by the community, intercultural dialogue by meeting people from different countries and languages but the same working way of the vocal instrument and the same challenges.

TARGET GROUP:

Young people at the age of 18-30 years old who are resident of countries listed below.

TIME PLAN AND VENUE:

Submission: 30th. of APRIL 2019, submission of the application under Mobility of Young People

Date of the youth exchange: 1-10  August 2019 (excluding travel dates)

Venue: SYROS, GREECE

LANGUAGE: English