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In the following yearly classification of the syllabus, are coloured in square brackets, all elements, according to the relevant legislation of Greece, concerning the education in schools of Byzantine Music, that are not used as terms or repertoire in today’s chant practice and for this reason are not taught. Also the units History of Church Music, Hymnology, Metrics and Liturgy, which are intended for the encyclopaedic musical education of the student and not for his chant training, are taught secondarily and only if they do not interfere with the main purpose of teaching. In our School, moreover, all those things are also taught which will be needed in practice by the cantor at the lectern, irrespective of their inclusion, or not, in the encyclical education.<\/p>\n<\/div>\n<\/div>\n
Theoretical part:<\/strong><\/p>\n The musical notes and their characters. Continuous transgressive ascent and descent. \u2013 Composition of characters. \u2013 Mart\u0113r\u0113a (Sign) of the notes. \u2013 Tone meizon (major), elasson (minor), and elachistos (minimum). \u2013 Natural diatonic scale of \u039d\u03b7. \u2013 Parallag\u0113 (Solmization). \u2013 Tempo and its characters. \u2013 Rhythm; meter of two beats (d\u0113s\u0113mos), of three beats (tr\u0113s\u0113mos), and of four beats (tetras\u0113mos). \u2013 Division of the time into two parts (gorgon), three parts (d\u0113gorgon), and four parts (tr\u0113gorgon). \u2013 The argon, the hymiolion, and the d\u0113argon. \u2013 Continuous ascent and descent according to the rules of orthography. \u2013 On the characters of expression and their duties. \u2013 Ol\u0113gon and petast\u0113 as characters of expression.<\/p>\n The apostrophos as a character of time (continuous elaphron).\u2013 Siopai (rests) of one beat, of two beats, of three beats, and of four beats. \u2013 On the modulations (fthores) of the diatonic notes. \u2013 Slow and fast tempo change (hron\u0113k\u0113 agog\u0113). On the syncopation and breathing. \u2013 Rhythmic reading. \u2013 Division of the scale into two tetrachords. \u2013 On the semitones. \u2013 On the signs of alteration of the tones: flat (hyphesis), sharp (diesis). \u2013 Permanent flat (hyphesis), sharp (diesis).<\/p>\n Practical Part:<\/strong><\/p>\n Vocal exercises on the application of the above mentioned theoretical lessons, performed through: A) a simple counting of the characters, B) through rhythmic reading, and C) through parallag\u0113. \u2013 Vocal Exercises on the short heirmologic (Brief Praises) melos (melody) of the Plagal of the Fourth and First Mode. \u2013 Exercises on the slow heirmologic melos of the Fourth Mode. \u2013 Exercises on the short sticheraric (Slow Praises) melos of the First Mode, of the Fourth Mode and of the Plagal of the First Mode. \u2013 \u00a0Exercises on the slow melos of the Fourth Mode and of the Diatonic Varys Mode. Additional exercises on all the taught theoretical lessons and correspondence between all the schemes of the Byzantine Ecclesiastical Music and the respective schemes of the European music.\u00a0<\/p>\n<\/div>\n<\/li>\n Theoretical part:<\/strong><\/p>\n Division of the musical scale into acoustic parts. – The 3 natural tones and their sharpness. – Exposition of rhythm. – The 3 genres and their Mart\u0113r\u0113as. – Analysis of the 8 Modes. – Division of the tetrachords of the 3 genres. \u2013 Fthor\u00e9 of the genres. – Types and systems of melos (similarities and differences). \u2013 Symphonies. – Attractions and their signs. – Slow and short heirmologic melos (melody) of the Plagal of the First Mode. – Comparison of the Third and Heavy Sound, heirmologic and sticheraric. – Peculiarities of the Third and Varys Modes. – Tempo conductions. – Differences of the Apolytikia and Kathismata of the Second, Fourth and Plagal of the Second Mode, which are sung with the fthora of the Second Mode.<\/p>\n<\/p>\n Practical part:<\/strong><\/p>\n Vocal exercises to apply what was taught in the theoretical part, performed on all modes in the following order: Plagal of the Fourth, First, Plagal of the First, Fourth, Third, Varys, Second and Plagal of the Second and with the following lessons: Hymns of Ascent (Anabathmoi). – Heirmoi of the Canons. \u2013 Resurrection (Anastasima) Apolytikia. – More Honorable (Timiotera). – Resurrection Verse (Anastasima Stichera). \u2013 Aposticha & Stichera of the Praises (ainoi). – Kekragaria and Pasapnoaria. \u2013 Stichologia “Thou Kyrie”. \u2013 Resurrectional (Anastasima) Kathismata. – Short Dogmatic Praises (Theotokia) (short hymns to the Virgin Mary). – 4 first Resurrectional (Anastasima) Vespers (Esperia) of short sticheraric (Slow Praises) melos. – Dogmatic Praises (Theotokia). \u2013 11 Eothina (Byzantine Hymns & Gospels of Orthros, in the Byzantine Rite). \u2013 Doxastika of Kypseli (hive) by choice (2 in each lesson). – Odes of Katavasiae of Fourth Mode. – “Kateplagi Iosif” (\u201c\u039a\u03b1\u03c4\u03b5\u03c0\u03bb\u03ac\u03b3\u03b7 \u0399\u03c9\u03c3\u03ae\u03c6\u201d) and its Prosomoia. – Short Praises by Manuel the Protopsalter (First Cantor). Additional exercises in reading at first sight chants of all 8 modes, memorization of Apolytikia, Kathismata and Heirmoi of the Canons.<\/p>\n<\/p>\n Books taught:<\/strong><\/p>\n 1) Anastastimatarion and Heirmologion by Petros Peloponnesios (Lampadarios), edition by Ioannis Lampadarios. 2) Musical Kypseli (hive) by Stefanos Lampadarios.<\/p>\n<\/div>\n<\/li>\n Theoretical part:<\/strong><\/p>\n Further analysis of the modes. – Varys Diatonic mode. \u2013 Epeisakta (Overlapping) meli. – Branches of modes. \u2013 Consonant (symphones) and dissonant (diaphones) Symphonies. [- The 4 consonant Symphonies from vary (grave) to oxy (acute). – The 2 consonant Symphonies from vary (grave) to oxy (acute). – The 2 consonant Symphonies from oxy (acute) to vary (grave). – The 2 dissonant Symphonies from vary (grave) to oxy (acute). – The 2 dissonant Symphonies from oxy (acute) to vary (grave). – The numerical and harmonic ratio of the 5 consonants and the 2 dissonant Symphonies of the first diapason from vary (grave) to oxy (acute) and their variation; – The numerical and harmonic ratio of the 5 consonants and the 2 consonant Symphonies of the first diapason from oxy (acute) to vary (grave) and vice versa and their parallag\u0113;] – Parallag\u0113 of the first diapason from vary (grave) to oxy (acute) and vice versa. [- The numerical ratio of the diatonic scale of the first diapason from vary (grave) to oxy (acute) and vice versa] – Division of the diatonic scale of the first diapason into 2 identical tetrachords of first scheme, attached to a major (meizon) tone; – The three natural tones as produced by diafores and symphonies. – Chromatic and enharmonic tetrachords. – Distinction between Hro\u0113 and Fthor\u00e9; – Variation of tones.<\/p>\n Practical part:<\/strong><\/p>\n Slow and short prosomoia of all Modes. – The Odes of the Katavasiae. -The Ninth Ode of the Katavasiae of the Annunciation and the Embassies of Theotokos and the Sundays of Thomas and the Blind Man. – Slow Kathismata of Holy Week. – Slow and short Heirmoi of Holy Week. – The following 12 slow Doxologies per melodist: First and Second Tetrafonos, Varys (Grave) Tetrafonos and Plagal of Fourth by Iakovos Protopsalter, Third, Fourth, Legetos Tetrafonos and Plagal of Second by Petros Lampadarios, Plagal First by Petros Byzantios, Varys (Grave) Eptafonos by Daniel \u00a0Protopsalter, Varys Encharmonic by Chourmouzios the Archivist [Chartophylax], Plagal of the Fourth chromatic by Gregorios Protopsalter. – “Makarios Anir” by Manuel Protopsalter. – The verses of the Polyeleos in Varys Mode “Logon Agathon” by Georgios of Crete (Kres). – The verses of the Polyeleos in Third Mode “On the river of Babylon” by Chourmouzios Chartophylax. – The two Great Prokeimena of the Great Lent. Memorization: short Prosomoia and some slow, Katanyktika, Exaposteilaria, and Heirmoi of the Canons. Application of them to Prosomoia.<\/p>\n<\/p>\n \u00a0Books taught:<\/strong><\/p>\n 1) Heirmologion by Petros Peloponnesios (Lampadarios), edition of Ioannis Lampadarios. 2) Four-volumes Musical Anthology “Pandektis”, edition of Ioannis Lampadarios and Stefanos First Domestikos.<\/p>\n<\/div>\n<\/li>\n Theoretical part:<\/strong><\/p>\n Further analysis of the division of time; – More detailed development of all theoretical chapters already taught; – More detailed development of musical diastimata. \u00a0[-<\/span> The four consonant Symphonies and the three dissonant Symphonies of the fourth diapason with their numerical and harmonic logoi]. <\/span><\/p>\n Practical part:<\/strong><\/p>\n The Cherubic Hymns of the Week by melodist: First, Fourth, Plagal of First, Varys and Plagal of Fourht of Petros Lampadarios, and Second, Third and Plagal of the Second of Gregorios Protopsalter. – The 6 Koinonika of the Week by Petros Lampadarios. – The 7 Idiomela of Great Lent by Iakovos Protopsalter. \u00a0[- The 11 slow Eothina of Iakovos Protopsalter.] <\/span>– The slow “Ti Ypermaho” (\u201cT\u03b7 \u03a5\u03c0\u03b5\u03c1\u03bc\u03ac\u03c7\u03c9), “T\u03bf prostachthen” (\u201c\u03a4\u03bf \u03c0\u03c1\u03bf\u03c3\u03c4\u03b1\u03c7\u03b8\u03ad\u03bd\u201d), “Idou o Nymphios” (\u201c\u0399\u03b4\u03bf\u03cd \u03bf \u039d\u03c5\u03bc\u03c6\u03af\u03bf\u03c2)\u201d and “Ote oi endoxoi mathites” (\u038c\u03c4\u03b5 \u03bf\u03b9 \u03ad\u03bd\u03b4\u03bf\u03be\u03bf\u03b9 \u03bc\u03b1\u03b8\u03b7\u03c4\u03b1\u03af\u201d). – A series of slow and short Cherubic hymns by choice, from the series by Petros Lampadarios, Petros Byzantios, Gregorios Protopsalter and Constantinos Protopsalter. – A series of koinonika ‘Aineite’ (\u201cA\u03b9\u03bd\u03b5\u03af\u03c4\u03b5\u201d) by choice, from the series by Petros Lampadarios, Petros Byzantios, and Daniel Protopsalter. \u2013 Koinonika from despotic feasts \u00a0and from feasts dedicated to the Mother of God and feasts of the Saints by election, from the series by Petros Lampadarios, Daniel Protopsalter, Gregorios Protopsalter, Chourmouzios Chartophylax and Constantinos Protopsalter. – The slow and short “Katefthinthito” (\u201c\u039a\u03b1\u03c4\u03b5\u03c5\u03b8\u03c5\u03bd\u03b8\u03ae\u03c4\u03c9\u201d) of the Liturgy of Presanctified Gifts. – The Cherubic Hymn of the Liturgy of Presanctified Gifts “Nyn ai Dynameis” (\u201c\u039d\u03c5\u03bd \u03b1\u03b9 \u0394\u03c5\u03bd\u03ac\u03bc\u03b5\u03b9\u03c2\u201d) in Plagal Mode of the Second by Ioannis Protopsalter. – The Koinonikon of the Liturgy of Presanctified Gifts “Gefsasthe” (\u201c\u0393\u03b5\u03cd\u03c3\u03b1\u03c3\u03b8\u03b5\u201d) by Ioannis Kladas – The Cherubic Hymn of the Liturgy of Presanctified Gifts “Gefsasthe” (\u201c\u0393\u03b5\u03cd\u03c3\u03b1\u03c3\u03b8\u03b5\u201d) by Ioannis Kladas. The Holy Thursday Cherubic “Tou deipnou sou” (\u201c\u03a4\u03bf\u03c5 \u03b4\u03b5\u03af\u03c0\u03bd\u03bf\u03c5 \u03c3\u03bf\u03c5\u201d) in Plagal Mode of the Second and the Holy Saturday “Sigisato pasa sarx” (\u201c\u03a3\u03b9\u03b3\u03b7\u03c3\u03ac\u03c4\u03c9 \u03c0\u03ac\u03c3\u03b1 \u03c3\u03b1\u03c1\u03be\u201d) in Plagal Mode of the Fisrt by Iakovos Protopsalter. \u2013 The Koinonikon of Holy Saturday “Exigerthi os o ypnon” (\u201c\u0395\u03be\u03b7\u03b3\u03ad\u03c1\u03b8\u03b7 \u03c9\u03c2 \u03bf \u03c5\u03c0\u03bd\u03ce\u03bd\u201d) in First Mode by Petros Lampadarios. Additional exercises in reading prima facie meli, which have not been taught, from the short and slow Doxastarion and from the four-volumes Musical Anthology “Pandektis”, edited by Ioannis Lampadarios and Stefanos First Domestikos.<\/p>\n Books taught:<\/strong><\/p>\n 1) Four-volumes Music Anthology “Pandektis”, edition of Ioannis Lampadarios and Stefanos First Domestikos. [2) Slow Doxastarion of Iakovos Protopsalter.]<\/span><\/p>\n<\/div>\n<\/li>\n Theoretical part:<\/strong><\/p>\n Musical orthography. – Topics of musical style in all kinds of meli of all Modes. – Auxiliary lines, ison, isokratima and isokrates – Training and conducting of musical choroi.<\/p>\n<\/p>\n Practical part:<\/strong><\/p>\n “Idi vaptetai kalamos” (\u201c\u0389\u03b4\u03b7 \u03b2\u03ac\u03c0\u03c4\u03b5\u03c4\u03b1\u03b9 \u03ba\u03ac\u03bb\u03b1\u03bc\u03bf\u03c2\u201d) by Iakovos Protopsalter. – “Kyrie i en pollais amarties” (\u201c\u039a\u03cd\u03c1\u03b9\u03b5, \u03b7 \u03b5\u03bd \u03c0\u03bf\u03bb\u03bb\u03b1\u03af\u03c2 \u03b1\u03bc\u03b1\u03c1\u03c4\u03af\u03b1\u03b9\u03c2\u201d) by Petros Lampadarios. – “Anastaseos imera” (\u201c\u0391\u03bd\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03c9\u03c2 \u03b7\u03bc\u03ad\u03c1\u03b1\u201d) by Iakovos Protopsalter. – The ancient melos \u201cTon Despotin kai Arcierea imon” (\u201c\u03a4\u03bf\u03bd \u0394\u03b5\u03c3\u03c0\u03cc\u03c4\u03b7\u03bd \u03ba\u03b1\u03b9 \u0391\u03c1\u03c7\u03b9\u03b5\u03c1\u03ad\u03b1 \u03b7\u03bc\u03ce\u03bd\u201d) in Varys Mode. – The ancient melos “Anothen oi Profitai” (\u201c\u0386\u03bd\u03c9\u03b8\u03b5\u03bd \u03bf\u03b9 \u03a0\u03c1\u03bf\u03c6\u03ae\u03c4\u03b1\u03b9\u201d) by Ioannis Koukouzelis in Varys Mode. – The “Agios, agios” (\u201c\u0386\u03b3\u03b9\u03bf\u03c2, \u03ac\u03b3\u03b9\u03bf\u03c2\u201d), “Se ymnoumen” (\u201c\u03a3\u03b5 \u03c5\u03bc\u03bd\u03bf\u03cd\u03bc\u03b5\u03bd\u201d) and “Tin gar sin mitran” (\u201c\u03a4\u03b7\u03bd \u03b3\u03b1\u03c1 \u03c3\u03b7\u03bd \u03bc\u03ae\u03c4\u03c1\u03b1\u03bd\u201d) of the Divine Liturgy of Saint Basil the Great. – The slow Octoechos\u00a0 “Theotoke Parthene” (\u201c\u0398\u03b5\u03bf\u03c4\u03cc\u03ba\u03b5 \u03a0\u03b1\u03c1\u03b8\u03ad\u03bd\u03b5\u201d) by Petros Bereketis. [- The Perissi (\u03a0\u03b5\u03c1\u03c1\u03b9\u03c3\u03ae) of the Polyeleos “Douloi Kyrion” (\u201c\u0394\u03bf\u03cd\u03bb\u03bf\u03b9 \u039a\u03cd\u03c1\u03b9\u03bf\u03bd\u201d) in a Plagal Mode of the First by Petros Lampadarios. – The Perissi (\u03a0\u03b5\u03c1\u03c1\u03b9\u03c3\u03ae) of the Polyeleos “Douloi Kyrion” in Third Mode “Epi ton potamon Vavylonos” (\u201c\u0395\u03c0\u03af \u03c4\u03bf\u03bd \u03c0\u03bf\u03c4\u03b1\u03bc\u03cc\u03bd \u0392\u03b1\u03b2\u03c5\u03bb\u03ce\u03bd\u03bf\u03c2 \u201c) by Chourmouzios Chartophylax. – The Funeral Chant “Agios o Theos” (\u201c\u0386\u03b3\u03b9\u03bf\u03c2 \u03bf \u0398\u03b5\u03cc\u03c2\u201d) in the Plagal Mode of the Second] – 8 Calophonic Heirmoi by choice with their kratimata, one from each Mode, from the Khalophonic Heirmologion. [- Selected verses from the greatest Anoixantaria by Ioannis Koukouzelis.] Additional exercises in reading prima facie slow and short meli, which have not been taught. – Practice on the lectern. [- Exemplary teaching of the preliminary class.]<\/p>\n Books taught:<\/strong><\/p>\n 1) Four-volumes “Pandektis” Musical Anthology, edited by Ioannis Lampadarios and Stefanos First Domestikos. 2) Khalophonikon Heirmologion.<\/p>\n Typikon<\/strong><\/p>\n Teaching the use of Typikon. Pre-Theory (\u201c\u03a0\u03c1\u03bf\u03b8\u03b5\u03c9\u03c1\u03af\u03b1\u201d). Typikon of Sunday services. Typikon of the services for the other days of the week. Typikon of the despototheomitorikes feasts and the feasts of the Saints. Practical applications of the Typical Order (\u03a4\u03c5\u03c0\u03b9\u03ba\u03ae \u0394\u03b9\u03ac\u03c4\u03b1\u03be\u03b7).<\/p>\n History of Church Music<\/strong><\/p>\n Greek music in the ancient Christian church. Sources for the musical history of the early Christian centuries. Music in the church from the apostolic age. Cantors (psaltes) and iskorates in the ancient church. The use of monophony in chant (psalmodia). Vocal music in the Christian church. The asmata (songs) of the ancient church. The melodists and hymn writers of the first 3 Christian centuries. Systematic formation of church music in the 4th century. The 2 modes of chant (psalmodias) in the 4th century. Monastic chant (psalmodia) after the 4th century. The accusations of the Church Fathers against Thymelic (\u0398\u03c5\u03bc\u03b5\u03bb\u03b9\u03ba\u03ae) music. The Church Fathers necessarily innovate in church music. Orthodox hymns against sects (\u03b1\u03b9\u03c1\u03ad\u03c3\u03b5\u03b9\u03c2). The composers of ecclesiastic music (\u03bc\u03b5\u03bb\u03bf\u03c0\u03bf\u03b9\u03bf\u03af) and hymn writers of the 4th, 5th, 6th and 7th Christian centuries. Ioannis Damaskinos, the arranger of church music. Genres, systems and sounds in the Octoechos Hymnody of Ioannis Damaskinos. Notation in the Octoechos Hymnody of Ioannis Damaskinos. The rhythm in the Octoechos Hymnody of Ioannis Damaskinos. The asmatic Canons in the Octoechos Hymnody of Ioannis Damaskinos. Troparia and Stichera in the Octoechos Hymnody of Ioannis Damaskinos. The Octoechos Hymnody of Ioannis Damaskinos. The Ecclesiastical Typikon in the Octoechos Hymnody of Ioannis Damaskinos. The musical gesture and on Ioannis Damaskinos. Slow meli of Ioannis Damaskinos.\u00a0 The composers of ecclesiastic music (\u03bc\u03b5\u03bb\u03bf\u03c0\u03bf\u03b9\u03bf\u03af) and hymn writers from the time of Ioannis Damaskinos to the time of the Fall. Church music in the centuries after the Fall (\u0386\u03bb\u03c9\u03c3\u03b7) of Constantinople. Composers of ecclesiastic music (\u03bc\u03b5\u03bb\u03bf\u03c0\u03bf\u03b9\u03bf\u03af), hymn writers and musicologists from the time of the Fall (\u0386\u03bb\u03c9\u03c3\u03b7) of Constantinople to the present day.<\/p>\n Hymnology<\/strong><\/p>\n Historical overview and interpretation of church hymns, psalms and prayers.<\/p>\n Metrics<\/strong><\/p>\n Examination of the meters found in church hymns. Elements of Greek metrics in general.<\/p>\n<\/p>\n Liturgical<\/strong><\/p>\n 1. Concepts such as: Pr\u03bfoimiakos (\u03a0\u03c1\u03bf\u03bf\u03b9\u03bc\u03b9\u03ba\u03b1\u03ba\u03cc\u03c2), Exaxalmos, Pater imon (\u03a0\u03ac\u03c4\u03b5\u03c1 \u03b7\u03bc\u03ce\u03bd), Doxology, Fos ilaron (\u03a6\u03c9\u03c2 \u03b9\u03bb\u03b1\u03c1\u03cc\u03bd), Liturgy, etc.<\/p>\n 2. Concepts such as: Canon, Obedience, Oikos (\u039f\u03af\u03ba\u03bf\u03c2), Anavathmoi, Kontakion, Apolytikion, Stichera, Antifona,\u00a0 Typika, Katavasiae, Heirmoi, Troparia, Ainoi (\u0391\u03af\u03bd\u03bf\u03b9), Fotagogika (\u03a6\u03c9\u03c4\u03b1\u03b3\u03c9\u03b3\u03b9\u03ba\u03ac), Exaposteilaria, Cherubic, Trisagion, Polyeleos and also Amphia (\u0386\u03bc\u03c6\u03b9\u03b1), Calymafhi (K\u03b1\u03bb\u03c5\u03bc\u03b1\u03cd\u03c7\u03b9), Diptychs, Hours, Prokeimena, Catechumens (\u039a\u03b1\u03c4\u03b7\u03c7\u03bf\u03cd\u03bc\u03b5\u03bd\u03bf\u03b9), Choroi, Bells, etc.<\/p>\n 3. Division: I. Division of Liturgy (topos, chromos, praxis). II. Division of Temple (contents, rhythm). III. Division of Liturgy sequence: A.) Parts of the Liturgy of Catechumens: 1. Preface (Doxology, Eirinika, Antiphons, Typika), 2. Gospel Reading (Small Entrance, Trisagion, Apostle’s Reading), 3. Deiseis (\u0394\u03b5\u03ae\u03c3\u03b5\u03b9\u03c2). B) Parts of the Faithful Liturgy: Great Entrance, Confession of Faith, Consecration of Holy Gifts, Communion, Dismissal of the Divine Liturgy<\/p>\n 4. Answers to questions such as: Why the temple faces East, the light, the incense, how many Liturgies exist, when is the “Osoi eis Xriston” (\u201c\u038c\u03c3\u03bf\u03b9 \u03b5\u03b9\u03c2 \u03a7\u03c1\u03b9\u03c3\u03c4\u03cc\u03bd\u201d) said, etc.\u00a0<\/p>\n 5. Definition of the Liturgics. – The 3 degrees of the Holy Orders. – Further degrees of the clergy. – Difference between ordination and exclusive of ordination. – Temple and sacred vessels. – Internal division of the Temple. – Holy Place. – Holy Temple and does it include. \u2013 \u03a1ulpit. \u2013 Soleas. – Narthex. – Symbolic representations of the Divine Liturgy. – Liturgical books. – Hymn writers and ecclesiastical hymns. – Analysis of the principal liturgical books. – Feasts. – Fixed and movable Despotic feasts. – Feasts of the Mother of God. – Great Lent. – Holy Week. – The various ecclesiastical services. – Vespers. – Orthros. – The Divine Liturgy in general. – The Divine Liturgy of the Catechumens. – Secondary ecclesiastical rites. – The Divine Liturgy of Ioannis Chrysostomos. – The Divine Liturgy of the Saint Basil the Great. – The Divine Liturgy of Mark the Evangelist. – The Divine Liturgy of Iakovos Adelphotheos.<\/p>\n General lessons<\/strong><\/p>\n Elementary theory of European Music and 3 classes of solfege.<\/p>\n<\/div>\n<\/li>\n<\/ul>\n Programme Syllabus In the following yearly classification of the syllabus, are coloured in square brackets, all elements, according to the relevant legislation of Greece, concerning the education in schools of Byzantine Music, that are not used as terms or repertoire in today’s chant practice and for this reason are not taught. Also the units History […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-951","page","type-page","status-publish","hentry"],"yoast_head":"\n2nd YEAR<\/h3>\n
\n3rd YEAR<\/h3>\n
\n4th YEAR<\/h3>\n
\n5th YEAR<\/h3>\n
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