Workshops

REPERTORY WORKSHOP OF MUSIC FOR BIODANCE

Contact teacher: Maria Vittoria Jedlowski: mariavittoria.jedlowski@consmilano.it

Tuesday 15th November 2022, Choir Room 7 p.m. - 10 p.m.
Tuesday 22nd November, Choir Room 7 p.m. - 10 p.m.
Tuesday 29th November, Choir Room 7 p.m. - 10 p.m.
Tuesday the 13th December, Choir Room 7 p.m. - 10 p.m.
Tuesday 20th December, Choir Room 7 p.m. - 10 p.m.
Tuesday 10 January 2023, Choir Room 7 p.m. - 10 p.m.
Thursday the 12th January 2023, Choir Room 4-7 p.m.
Tuesday 17 January, Choir Room 8 p.m. - 10 p.m.
Tuesday 24th January, Puccini Hall 7 p.m. - 10 p.m.

The biodanza music repertoire workshop involves the preparation of a musical repertoire suitable to support biodance sessions or similar practices.
In the course of the workshop, a practical in-depth study of the motor, physiological and emotional states stimulated by music is proposed, as well as a practical study of one's own motor and emotional attitude when playing.
Particular attention is paid to the type of relationship that is established whilst playing with oneself, with fellow performers, and with the audience, with the aim of understanding, enriching, and facilitating these relationships. Furthermore, an attitude is encouraged that is more focused on the meaning of one's playing, in relation to the audience, than on the performance itself. This is done with the aim of softening technical stress in favour of responsibility towards the social value of music.
The laboratory students will develop a repertoire of existing music, composed during the laboratory or improvised, which can be related to specific movements and emotional states proposed in biodanza sessions.
This is the preparation of a repertoire of music that is to Biodanza what incidental music is to a stage play and its actors.
An experiential method is used that involves not only the composition, research, performance and interpretation of the musical repertoire, but also the practice of movement suggested and inspired by the music.
The Biodanza Music Repertory laboratory is open across all instrumental courses of any discipline, including classical, ancient, pop, rock, jazz, as well as singing and teaching, to students of the Triennio and Biennio of any year, and to external students, within the percentage permitted by the Conservatory. The transversal nature of this laboratory fosters the integration and collaboration of students with different musical style competencies, as was evident from the highly successful collaborative outcome during the current academic year 2021-22.

Jotform registration form
In-house musicians
External musicians
Entry deadlineMonday 14 November 11.59pm

STOCKHAUSEN: PIANO PIECES

Contact teacher: Giuseppe Leanza: giusepe.leanza@consmilano.it

Wednesday 16 November 2022, Library Conference Room 2.00 p.m. - 4.00 p.m.
Wednesday 30th November, Room 211 2.00 p.m. - 4.00 p.m.
Wednesday 14th December, Room 215 2.00 p.m. - 4.00 p.m.
Wednesday 21st December, Room 211 2.00 p.m. - 4.00 p.m.
Wednesday 11 January 2023, Library Conference Room 2.00 p.m. - 4.00 p.m.
Wednesday 25 January, Room 211 2.00 p.m. - 4.00 p.m.
Wednesday 08 February, Library Conference Room 2.00 p.m. - 4.00 p.m.
Wednesday 01 March, Room 211 2.00 p.m. - 4.00 p.m.
Wednesday 08 March, Room 211 2.00 p.m. - 4.00 p.m.
Friday the 10th March, Puccini Hall 2.30 p.m.
Concert: Friday 10 March, Puccini Hall 8.30 p.m.

The workshop is aimed at piano students, both internal and external to the Giuseppe Verdi Conservatory in Milan, and is intended for the concert performance of Karlheinz Stockhausen's Klavierstücke, which will be agreed upon with the registered students. As it is unlikely that the duration will cover an entire concert, the performances will be included in concerts featuring other repertoire, preferably modern or contemporary.
The workshop will involve introductory meetings and analysis of pieces, as well as practical lessons aimed at performance. At the end of the lessons, the tutor will select the students who will participate in the concert. The workshop is also open to composition students as auditors.
An aptitude audition is scheduled for Wednesday 30 November. It will consist of the performance of two excerpts by Karlheinz Stockhausen, which the lecturer will indicate a fortnight in advance.

Jotform registration form
In-house musicians
External musicians
Entry deadlineMonday 14 November 11.59pm

Improvisation Techniques

Attilio Zanchi
Contact teacher: Tino Tracanna: tino.tracanna@consmilano.it

Saturday 19th November 2022, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
Saturday 26th November, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
Saturday 10 December, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
Saturday 14 January 2023, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
Saturday 28 January, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
Saturday 11 February, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
Saturday 04 March, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
Saturday 18th March, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
Saturday 25 March, Choir Room 9 a.m. - 11 a.m. (Pop) // 11 a.m. - 1 p.m. (Jazz)
ConcertSaturday 01 April, Choir Room 9.00-11.00 am (Pop) // 11.00-13.00 am (Jazz)

The workshop is aimed at learning and developing improvisational skills. In addition to the theoretical part, practical exercises will be carried out. The course will be based on the topics covered in various methods written by the author Attilio Zanchi: Teoria ed Armonia moderna, Inside the standards, Simmetrie musicali and Studi Vocali. The main topics addressed will relate to the relationship between chords and their related scales, and the development of melodic lines taking into account harmonic connections and the use of chromaticism in phrasing. Pieces from jazz and pop repertoires will be played, including study of themes, guided listening, exercises with linked scales, and solos by musicians chosen from the most representative of these musical styles.

Jotform registration form
In-house musicians
External musicians
Entry deadlineMonday 14 November 11.59pm

THE BOLD MADRIGAL: GESUALDO DA VENOSA VS CLAUDIO MONTEVERDI

Mirko Cristiano Guadagnini
Contact teacher: Daniela Uccello: daniela.uccello@consmilano.it
WORKSHOP CANCELLED

Sunday 27th November 2022, Choir Room 2:00 PM - 8:00 PM – MEETING CANCELLED
Sunday 18th December, Choir Room 2-8 p.m.
Sunday 22nd January 2023, Choir Room 2-8 p.m.
Sunday 05 February, Choir Room 2-8 p.m.
Sunday 05 March, Room 106 2-8 p.m.
Sunday 19th March, Room 106 2-8 p.m.
Saturday 01 April, Room 106 7 p.m. - 10 p.m.
Sunday 02 April, place and time to be defined

The workshop aims to explore a cappella madrigal singing with basso continuo, using real voice parts. The study will focus on the madrigals of Gesualdo Da Venosa and Claudio Monteverdi and, in addition to examining the compositional differences and points of contact between these two great representatives of the most daring Italian madrigalism in terms of composition, innovation and sonority, it will delve into the technique of Baroque madrigal singing, style, the interplay between text and music in madrigalism, and expressiveness. It will also stimulate the student's ability to develop soloistic musicality within a real-part ensemble and encourage musical creativity in the Baroque style to construct the characteristic expressiveness of Gesualdo's and Monteverdi's madrigals.
The presentation of this workshop renews what was already proposed and carried out in the academic year 2021-22 with the workshop 'A cappella Madrigalism in Claudio Monteverdi', which attracted 22 participants from within the Conservatory and 2 from outside. It was highly successful in terms of study and learning for the participating students, culminating in a final concert with over 100 people in attendance. The aim is to renew the offering and cater to both existing and new students who wish to delve deeper into this repertoire and these themes.
The selection of madrigals by Gesualdo Da Venosa will be made from numerous collections, while the study on Claudio Monteverdi's madrigals will focus on a selection from the Fifth Book of Madrigals (1605), where the introduction of basso continuo begins, heralding the world's first Baroque opera, Orfeo (1607). An interesting historical-musical analysis will be presented on the evolution between prima and seconda pratica, and the transition from polyphony to the gradual inclusion of soloistic passages within the 5-voice composition, which precedes accompanied monody with basso continuo.
The meetings will involve a collective study of madrigals, followed by division into vocal quintets for their technical, musical, and expressive refinement.
For the success of the workshop, it will be appropriate and desirable to ensure an adequate balance in the presence of female and male voices of all registers, therefore sopranos, mezzosopranos, altos-countertenors, tenors, baritones, basses.
The singers who distinguish themselves, at the sole discretion of Maestro Mirko Guadagnini, may join professionals and participate in baroque concerts organised by Associazione Liederìadi in Milan, at the Church of San Maurizio al Monastero Maggiore and the Church of Sant’Antonio Abate throughout the year.

Jotform registration form
In-house musicians
External musicians
Entry deadlineWednesday 14 December 11:59 PM

DEAR FRIENDS: ORATORIO JUDICIUM EXTREMUM

Contact teacher: Francesca Torelli: francesca.torelli@consmilano.it

Thursday 01 December 2022, Room 106 16:00-18:00 – MEETING CANCELLED
Thursday 15 December, Room 106 4-6 p.m.
Thursday 22 December, Room 106 4-6 p.m.
Thursday the 12th January 2023, Room 106 4-6 p.m.
Thursday 19 January, Room 106 4-6 p.m.
Thursday 26 January, Room 106 4-6 p.m.
Thursday 02 February, Room 106 4-6 p.m.
Thursday 9th February, Room 106 4-6 p.m.
Thursday 02 March, Room 106 4-6 p.m.
Thursday 9th March, Room 106 4-6 p.m.
Thursday 16 March, Room 106 4-6 p.m.
Thursday 23 March, Room 106 4-6 p.m.
Thursday 30 March, Room 106 4-6 p.m.
Thursday the 13th April, Puccini Hall 10 a.m. - 1 p.m.
Thursday 27 April, Puccini Hall 10 a.m. - 1 p.m.
Thursday 04 May, Puccini Hall 10 a.m. - 1 p.m.
Thursday 11 May, Puccini Hall 10 a.m. - 1 p.m.

The laboratory is open to students from the baroque singing, chamber vocal music, baroque violin, and basso continuo classes for organ, harpsichord, lute, baroque bassoon, and viola da gamba.
The oratorio Judicium extremum for soloists, choir, 2 violins and basso continuo, it is one of the most successful in Giacomo Carissimi's output and includes solo vocal parts and choral parts that can be performed as real parts or with doublings, depending on the number of participants in the workshop.

Jotform registration form
In-house musicians: https://form.jotform.com/223034188733354
Outside musicians: https://form.jotform.com/223034610987355
Entry deadline: Wednesday 30 November 11.59 p.m.

EXTENDED SOUND DESIGN

Davide Gagliardi and Andrea Vigani
Contact teacher: Andrea Vigani: andrea.vigani@consmilano.it

Friday 02 December 2022, Classroom 130 10 a.m. - 2 p.m.
Friday 16th December, Classroom 130 10 a.m. - 2 p.m.
Friday 27 January 2023, Classroom 130 10 a.m. - 2 p.m.
Friday 03 February, Classroom 130 10 a.m. - 2 p.m.
Friday 10 February, Classroom 130 10 a.m. - 2 p.m.
Friday 03 March, Classroom 130 10 a.m. - 2 p.m.
Friday 10 March, Classroom 130 10 a.m. - 2 p.m.
Friday 24th March, Classroom 130 10 a.m. - 2 p.m.
Friday 31st March, Classroom 130 10 a.m. - 2 p.m.
Friday 14 April, Classroom 130 10 a.m. - 2 p.m.

This workshop aims to be an interdisciplinary space where participants can explore the possible interactions between sound and musical computation through interaction design techniques. Specifically, this will involve studying the relational ergonomics between gesture and sound. Interactions can occur through physical interfaces, such as sensors, joysticks, tablets, smartphones, and computer keyboards, as well as through video tracking techniques of human movements. This will transform the use of everyday objects into sonic interfaces aimed at discovering new musical expressions.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Thursday 24 November 11.59 p.m.

MUSIC FOR ANIMATION AND VIDEO GAMES

Olivier Deriviere, Vasco Hexel, Chiara Magni, Ludwin Norman, Diego Pugliese
Contact teacher: Paolo Tortiglione: paolo.tortiglione@consmilano.it

Friday 16th December, Classroom 103 8.45 a.m. - 1.45 p.m.
Friday 27 January 2023, Library Conference Room 9 a.m. - 2 p.m.
Friday, 3rd March, Classroom 103 8.45 a.m. - 1.45 p.m.
Friday 24th March 2023, Puccini Hall 8.45 a.m. - 1.45 p.m.
Friday 14 April, Library Conference Room 9 a.m. - 2 p.m.
Friday 21st April 2023, Classroom 103 8.45 a.m. - 1.45 p.m.

Following the success of the workshop in 2017, 2018, 2019, 2020, and 2021/22, the most recent edition of which saw over 61 registrants and an average of over 45 attendees per session, a new session is proposed for the year 2022/23 on a related and complementary theme.
The workshop comprises 6 lessons of 5 hours each in which the methodologies of writing for animation scenes and VideoGames (CD-DVD-Videogames-Console) will be explained. Composition techniques with Virtual Orchestra and dedicated electronic instruments will be illustrated
The main purpose is to write music for film scenes, video games, TV programmes, television and radio jingles, CD-DVDs, etc.
The workshop begins with the study of important considerations for composition for visual media, including, for example, music-dialogue balance, the psychology of music for images (what is the best music for the type of images?), how to influence the viewer's emotional response, and how to create music that evokes specific eras and styles. The course also covers music for video games, how to work with dedicated and specialised software (libraries, virtual orchestras, and cinematic instruments).
The different genres of music for multimedia products will then be reviewed, for example, themes and sounds relating to romance, sadness, pursuit, horror, magic, fantasy, heroic, action, and adventure genres. The workshop then analyses each genre and sound in terms of harmony and counterpoint, tempo, scene rhythm, aspects related to directing and screenwriting, stimulating the student to create a series of templates that they can then use in their future profession.
We will analyse material from the greatest authors of the genre and each meeting will also feature an external expert working in the sector.
A certified English level equivalent to B2 is required for admission. For those who do not possess this documentation, an English proficiency test for admission to the Laboratory will be held on December 10th, 2022, at 10:00 AM in Classroom 103.

Jotform registration form
In-house musicians
External musicians
Closing date for applications: Thursday 8th December, 11:59 PM

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CONTEMPORARY MUSIC (LMC)

Contact teacher: Mauro Bonifacio: mauro.bonifacio@consmilano.it

Friday 16th December 2022, Library Conference Room 11 a.m. - 1.30 p.m.
Friday 27 January 2023, Choir Room 11 a.m. - 1.30 p.m.
Wednesday 01 March, Puccini Hall 9.30 a.m. - 1.30 p.m.
Thursday 02 March, Puccini Hall 9.30 a.m. - 1.30 p.m.
Friday 03 March, Puccini Hall 9.30 a.m. - 1.30 p.m.
Saturday 04 March, Puccini Hall 10.30 a.m. - 1.30 p.m.

The Contemporary Music Laboratory is an educational project dedicated to instrumental students, chamber vocal music, singing students from the Triennio, Biennio and Master's courses, and orchestra conducting students from the Triennio only. This year's programme includes the study of two scores: O King for mezzo soprano and five instruments (flute, clarinet, violin, cello and piano) by Luciano Berio and Drift I for 6 instruments (flute, clarinet, violin, cello, vibraphone and piano) by Pierre Boulez. Registration is restricted to the voice and instruments listed above. Based on registrations received, no more than two ensembles of a similar standard will be formed, so the number of participating students will be limited; 20 hours of attendance are required.

Objectives
Acquisition and in-depth development of specific technical, analytical, and interpretive skills concerning mid-20th century and contemporary ensemble music. Each teaching module within the contemporary music workshop is aimed at forming one or more student ensembles capable of tackling the study of significant recent and contemporary repertoire. Students and groups who particularly distinguish themselves during the workshop may be nominated for future projects within m2c, the Institute of Modern and Contemporary Music.

Contents
Study and performance of important recent and contemporary scores. Acquisition of specific technical-instrumental knowledge, rehearsal sessions and in-depth analysis of the programmed scores.

Articulation
Theoretical part: 5 hours
Collective theoretical lessons, held by the lecturer responsible for the project. In-depth study of the main performing techniques used in recent and contemporary literature. In-depth technical-analytical study of the scores covered in the practical part.
Practical part: 15 hours
Trial sessions with student ensembles. The practical part involves working on the rehearsal of the programmed pieces together with the project manager teacher and the Bachelor's students in orchestral conducting.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Monday 12 December 23.59

FROM ANTONIO VALENTE TO DOMENICO CIMAROSA:
TWO HUNDRED YEARS OF THE NEAPOLITAN SCHOOL

Chiara Tiboni e Enrico Baiano
Contact teacher: Chiara Tiboni: chiara.tiboni@consmilano.it

Thursday 15 December 2022, Classroom 101 2-7 p.m.
Saturday 14 January 2023, Classroom 101 2-7 p.m.
Friday 27 January, Classroom 101 2-7 p.m.
Thursday 9th February, Classroom 101 2-7 p.m.
Friday 28th April, Classroom 101 2-7 p.m.
Saturday 29 April, Classroom 101 9 a.m. - 2 p.m.
Friday 26th May, Classroom 101 2-7 p.m.
Saturday 27th May, Classroom 101 9 a.m. - 2 p.m.
Concert: Sunday 28 May, Foyer Verdi Hall 4 p.m.

Towards the end of the 16th century, a compositional and instrumental school developed in Naples that stood out on the European scene for its originality. At the turn of the 16th and 17th century, the salient features were the remarkable technical level, equalled only by the coeval Elizabethan school, the artificial counterpoint, the search for new chromatic and harmonic horizons, a new way of «making the keyboard sing», derived from the style of the Second Procrustean period. At the end of the 17th century, these elements were joined by the influence of opera, which inspired new ways of thinking about instrumental writing and interpretation. Domenico Scarlatti contaminates this complex heritage with Iberian musical folklore and the result is a language that is once again unique in Europe. In Europe, meanwhile, Italian opera, which owes much to Neapolitan opera buffa, goes wild. Its influence is also pervasive in instrumental music, which cites its stylistic features and attitudes; many sonatas by Domenico Scarlatti, Domenico Cimarosa, Giovanni Paisiello, Pietro Domenico Paradisi, and, for example, Franz Joseph Haydn and Wolfgang Amadeus Mozart, looking outside Naples and Italy, are clear transpositions of arias or theatrical scenes. The theme of the seminar, which is deliberately broad, will give each participant the opportunity to focus on one or more moments of these miraculous two centuries, with the aim of reconstructing as complete a picture as possible.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Tuesday the 13th December 23.59

FIRST RUDIMENTS OF INSTRUMENTAL IMPROVISATION

Contact teacher: Fabio Moretti: fabio.moretti@consmilano.it

Tuesday 10 January 2023, Classroom 201 8 p.m. - 10 p.m.
Tuesday 17 January, Classroom 201 8 p.m. - 10 p.m.
Tuesday 24th January, Classroom 201 8 p.m. - 10 p.m.
Tuesday 31 January, Classroom 201 8 p.m. - 10 p.m.
Tuesday 07 February, Classroom 201 8 p.m. - 10 p.m.
Tuesday 07 March, Classroom 201 8 p.m. - 10 p.m.
Tuesday 14th March, Classroom 201 8 p.m. - 10 p.m.
Tuesday 21st March, Classroom 201 8 p.m. - 10 p.m.
Tuesday 28 March, Classroom 201 8 p.m. - 10 p.m.
Martedì 04 April, Classroom 201 8 p.m. - 10 p.m.

Depending on the characteristics and abilities of the enrolled students, this workshop can offer a very diverse educational path. For students who already hold an instrument diploma, I will present a bibliography on improvisation technique and harmony suitable for the purpose.
For those with no prior skills in rhythmic reading, sight-singing, and tonal harmony, they will be integrated into the educational path according to their abilities.
Piano, study instruments, and simple percussion instruments will be used in the improvisation. Hand claps and walking in time will also be employed.
Famous classical pieces will be played, during which each student will be encouraged to make spontaneous contributions with simple percussion to accompany the listening and create a small new version of the piece.
Group rhythmic improvisations with percussion instruments alone will often be performed during the workshop

Jotform registration form
In-house musicians
External musicians
Entry deadline: Thursday 15 December 23.59

THE WOODWINDS OF KURT WEILL

Contact teacher: Silvano Scanziani: silvano.scanziani@consmilano.it

Saturday 14 January 2023, Room 106 3-6 p.m.
Saturday 28 January, Room 106 3-6 p.m.
Saturday 4 February, Room 106 3-6 p.m.
Saturday 11 February, Room 106 3-6 p.m.
Saturday 04 March, Room 106 3-6 p.m.
Saturday 18th March, Room 106 3-6 p.m.
Saturday 01 April, Room 106 3-6 p.m.
Saturday 15 April, Room 106 3-6 p.m.
Saturday 22nd April, Room 106 3-6 p.m.
Saturday 29 April, Room 106 3-6 p.m.
Saturday 06 May, Room 106 3-6 p.m.
Concert: Tuesday 9th May, Puccini Hall 8.30 p.m.

The workshop is aimed at students of wind instruments, violin, percussion, piano, guitar and double bass from the Undergraduate and Postgraduate degree courses, and the Master's degree. It involves the study and performance of 2 important compositions by Kurt Weill for ensembles made up predominantly of wind instruments, namely: Kleine Dreigroschenmusik, suite from the opera Threepenny (composer's wind ensemble version) and the Concert for Violin and Winds op. 12.
The solo violin part will be chosen by audition; the other parts will be assigned by simple registration for the workshop.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Thursday 15 December 23.59

THE UNMEASURED PRELUDE: INTERPRETATION AND IN-DEPTH ANALYSIS

Carlo Giuseppe Maria Ramella, Mariateresa Dellaborra, Chiara Tiboni
Contact teacher: Carlo Giuseppe Maria Ramella: carlo.ramella@consmilano.it

Wednesday 1 February, Room 106 10 a.m. - 1 p.m.
Wednesday 8 February, Room 106 10 a.m. - 1 p.m.
Wednesday 8 March, Classroom 104 10 a.m. - 1 p.m.
Wednesday the 22nd March, Room 106 10 a.m. - 1 p.m.
Wednesday 19 April, Classroom 104 10 a.m. - 1 p.m.
Wednesday 3 May, Classroom 104 10 a.m. - 1 p.m.
Wednesday 7 June, Classroom 104 10 a.m. - 1 p.m.

Louis Couperin was likely inspired in his preludes by the arpeggiated playing style of the German harpsichordist Froberger. Froberger studied in Rome with Girolamo Frescobaldi from 1637 to 1641, and later travelled to Paris, where it seems probable that Froberger and Couperin met, although no direct evidence has survived. Despite Frescobaldi's valuable preface to his works – advice that Froberger presumably demonstrated to his French colleagues – the rigidity of German-Italian notation, with its vertical written chords, defined bar lines, and proportional note values, must not have had much effect on a musician of such great imagination and variety as Louis Couperin. He surely found the notation of chords, in particular, too restrictive to reflect his myriad inventive arpeggios. Couperin sought a system of notation that would provide precise information but also liberate the performer's imagination.
The unmeasured prelude is therefore a composition whose ambivalent essence, while leaving the performer greater autonomy than other forms, does not eliminate a structuring of the harmonic, phrasal, and rhetorical aspects which can be made evident by analysis and should transpire from the harpsichordist's live interpretation.
The workshop will be structured into three parts:

1. In-depth historical-musicological studyOf this particular aspect of Baroque instrumental music, with attention to the history of harpsichord practice and the modification of musical taste in the French environment of the second half of the 17th century.
2. Semiological study of musical sourcesThe notation; semibreves; ties and their different uses; lines; the notation of printed preludes. The analysis of the tonal and harmonic context and the melodic and structural particularities of this type of composition.
3. In-depth study of problems related to performance practiceExecutive study of some preludes transcribed by students during lessons. The work, in concert with the Harpsichord Professor, will aim to highlight the interpretative needs of each individual page in the sense of historically informed performance practice.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Sunday 15 January 11.59 p.m.

WRITING CONSERVATORY THESES AND DISSERTATIONS

Oreste Bossini, Marta Crippa, Mariateresa Dellaborra,
Gianni Fidanza, Angelo Foletto, Antonino Geraci, Sandra Martani
Contact teacher: Gianni Fidanza: gianni.fidanza@consmilano.it

Thursday 02 March, Library Meeting Room 10 a.m.-12 noon // 1 p.m.-3 p.m.
Friday 03 March, Library Meeting Room 9.30 a.m. - 1.30 p.m.
Monday 06 March, Library Conference Room 10 a.m. - 1 p.m.
Wednesday 08 March, Library Meeting Room 9.30 a.m. - 1.30 p.m.
Thursday 9th March, Library Meeting Room 10 a.m. - 1 p.m. // 2 p.m. - 4 p.m.
Monday 13 March, Library Meeting Room 11 a.m. - 1 p.m.
Wednesday 15 March, Library Meeting Room 2.00 p.m. - 4.00 p.m.
Thursday 16 March, Library Meeting Room 11 a.m. - 1 p.m. // Library Conference Room 2.00 p.m. - 4.00 p.m.
Tuesday 21st March, Library Meeting Room 11 a.m. - 1 p.m.
Thursday 23 March, Library Meeting Room 11 a.m. - 1 p.m. // 2 p.m. - 4 p.m.

Since the Italian conservatoire reform came into effect in 1999 – which made the artistic and musical training system parallel to the university system – students are required to draft a paper for the exam of certain subjects and a dissertation for the final examination of each cycle (which is usually accompanied, on the occasion of the defence, by a musical performance).
The undergraduate thesis represents the moment when a student is asked, for the first time during their academic career, to demonstrate their ability to argue a topic, contextualise, compare, and analyse the musicological sources and literature consulted – whilst simultaneously compiling a bibliography for the chosen subject – and to present the results of their research.
The workshop Writing theses and dissertations in the Conservatory aims to provide students with the necessary skills to be able to tackle a research project, to be able to document effectively, to be able to structure a dissertation by arguing a topic.
The workshop will also include a section dedicated to presenting our Conservatory's library, the services it offers, and the bibliographic tools available for research (including online resources and directories). Bibliographic research is, in fact, an essential step for any project involving the drafting of a scientific text, and Conservatory students must be able to define the subject and parameters of bibliographic research, identify catalogues and directories to consult (bibliographic information tools), evaluate the results, and consult bibliographic resources by adopting a critical approach towards the authoritativeness of the sources.

Jotform registration form
In-house musicians
External musicians
Closing date for registration: Wednesday 1 February 11.59 p.m.

FROM GESTURE TO SONG: THE DIALOGUE BETWEEN MASTER AND CHOIR

Contact teacher: Maria Elena Mazzella: mariaelena.mazzella@consmilano.it

Tuesday 07 March 2023, Choir Room 2-6 p.m.
Tuesday 14th March, Choir Room 2-6 p.m.
Tuesday 21st March, Choir Room 2-6 p.m.
Tuesday 28 March, Choir Room 2-6 p.m.
Martedì 04 April, Choir Room 2-6 p.m.
Tuesday 18th April, Choir Room 2-6 p.m.
Tuesday 09 May, Choir Room 2-6 p.m.
Tuesday 16th May, Choir Room 2-6 p.m.
Tuesday 23rd May, Choir Room 2-6 p.m.
Tuesday 30 May, Choir Room 2-6 p.m.
Tuesday 06 June, Choir Room 6-8 p.m.

The workshop aims to establish a vocal group capable of studying pieces from different genres and periods. The ensemble formed will be rehearsed and conducted by the student choir directors, who will tackle the pieces programmed for their exams. During the workshop sessions, there will be lessons in choir rehearsal and conducting, as per the study plan.
The aim is to familiarise students with the choral experience from the perspective of the conductor leading the group. In addition to the usual guidance regarding conducting technique, score study and analysis, choir members' vocal training, and rehearsal practice, particular attention will be paid to choral repertoire for opera theatre and sacred productions for choir and orchestra or instrumental accompaniment.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Wednesday 1 February 11.59 p.m.

AMERICAN PIANOS – CONTEMPORARY AMERICAN PIANO MUSIC

Emanuele Arciuli e Andrea Rebaudengo
Contact teacher: Andrea Rebaudengo: andrea.rebaudengo@consmilano.it

Exam: Thursday 20th April 2023, Room 212 2 p.m.
Friday 21st April, Room 212 2-7.30 p.m.
Friday 05 May, Room 211 10 a.m. - 1 p.m.
Friday 16th June, Room 211 10 a.m. - 2 p.m.
Friday 08 September, Room 211 2-7.30 p.m.
Friday 22nd September, Room 211 10 a.m. - 1 p.m.
Concert rehearsals: Monday 16 October, Puccini Hall 2-8 p.m.
Concert: Tuesday 17 October, Puccini Hall 8.30 p.m.

The United States witnessed a flourishing of piano music of the highest calibre in the second half of the 20th century. This instrument, with its infinite flexibility, is the perfect voice for a new continent emerging onto the musical scene in a forceful manner. Europe, initially curious, then wary, has in recent decades had to acknowledge this wave of American piano music, whose ability to permeate various styles has proven to be a success. It ranges from composers considered more academic to those more innovative, from those most closely linked to new American languages, such as jazz and rock, to the inventors of new paths.
The piano benefited from a breath of fresh air that also renewed the repertoire and the appreciation of piano sound.
For several years, Emanuele Arciuli and Andrea Rebaudengo have made the American repertoire a cornerstone of their activities, both as soloists and in their piano duo, without neglecting chamber and ensemble music.
This laboratory therefore offers students an in-depth fresco of this world, which is sometimes little explored in the academic courses of conservatories, and it does so both with individual lessons and with listening guides and thematic meetings that can help young people discover the repertoire and pieces that are most in line with their interests.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Wednesday 15 March 23.59

MINDFULNESS & MUSIC LAB

Contact teacher: Cinzia Barbagelata: cinzia.barbagelata@consmilano.it

Saturday 06 May 2023, Choir Room – 10:30 AM-1:30 PM, Attention and concentration
Saturday13 May, Choir Room – 10:30 AM-1:30 PM, Judgement and fear
Saturday 20 May, Choir Room – 10:30 AM-1:30 PM, Physicality and freedom
Saturday 27th May, Choir Room – 10:30 AM-1:30 PM, Emotions and performance anxiety
Saturday 16 September, Choir Room – 10:30 AM-1:30 PM, Breathing and inner calm
Saturday 23rd September, Choir Room – 2.00 PM–5.00 PM, Presence and wisdom

Mindfulness is a meditative practice of conscious attention with ancient spiritual roots, which has become widespread in the Western world thanks to the MBSR protocol, a scientific programme for stress reduction based on mindfulness, created in 1979 by physician Jon Kabat-Zinn. The beneficial effects of mindfulness, which are liberating and provide existential support, are at the centre of scientific interest and research in clinical, social, educational, work-related and personal care fields.
Mindfulness & Music Lab offers a place to deepen the practice of mindfulness and, with “non-judgmental awareness – of the present moment – cultivated through paying attention,” to address many important recurring aspects of making music, such as performance anxiety, barriers to free and spontaneous connection with one's musical instrument of expression, physical tensions, fears, etc. The work is aimed at achieving mindful attention, mental presence, physical and proprioceptive sensitivity, emotional stability, postural quality, relaxation, improvement of breathing quality, and concentration.
The workshop is primarily aimed at musicians who are familiar with mindfulness practices, but it is also open to those who wish to approach mindfulness for the first time.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Wednesday 15 March 2023 11.59 p.m.

MUSIC/BODY/EMOTIONS/RELATIONSHIPS/MUSIC THERAPY

Stefania Belotti, Fabio Moretti
Contact teacher: Stefania Belotti: stefania.belotti@consmilano.it

Saturday 23rd September 2023, Choir Room 8.30 a.m. - 1.30 p.m.
Saturday 30 September, Choir Room 8.30 a.m. - 1.30 p.m.
Saturday 07 October, Choir Room 8.30 a.m. - 1.30 p.m.
Saturday 14 October, Choir Room 8.30 a.m. - 1.30 p.m.

The workshop aims to provide basic knowledge that allows for the exploration of internal and external reality, using music and the quality of relationships that develop through it, as a primary element of communication.
During the course, the student will have the opportunity to understand and experience a different interpretation of musical parameters. They will acquire basic elements of some techniques used in music therapy, integrating the in-depth knowledge gained from their Conservatory studies with a path where sound and music become fundamental agents of change. Activities will be proposed ranging from exploring instruments, to improvisation, to analysing the musical relationship between participants. Specific activities will also be proposed relating to body awareness, emotional, affective and relational aspects, and the potential enhancement of sensory and perceptual abilities of each individual.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Saturday 02 September 2023 11.59 p.m.

COMPOSER COLLECTIVE

Fabrizio Cosimo Bianco, Giuseppe Rinaldi
Contact teacher: Fabrizio Cosimo Bianco: fabrizio.bianco@consmilano.it

FROM PAPER TO DIGITAL

Marta Crippa, Laura Nicora
Contact teacher: Gianni Fidanza: gianni.fidanza@consmilano.it

Wednesday 4 October 2023, Library Conference Room 10 a.m. - 12 noon // 2 p.m. - 4 p.m.
Thursday 5 October 2023, Library Meeting Room 10 a.m. - 12 noon // 2 p.m. - 4 p.m.
Friday 6 October 2023, Library Meeting Room 10 a.m. - 1 p.m.
Monday 9 October 2023, Library Conference Room 10 a.m. - 12 noon
Thursday 12 October 2023, Library Meeting Room  10 a.m. - 12 noon
Monday 16 October 2023, Library Conference Room 10 a.m. - 12 noon
Thursday 19 October 2023, Library Conference Room 10 a.m. - 1 p.m.
Thursday 26 October 2023, Library Meeting Room

Among the many initiatives promoted by the Conservatory, there is a lack of a project proposal involving students in the enhancement of the musical sources conserved in our Library. The “From Paper to Digital” laboratory aims to bring together two needs: on the one hand, the necessity of making students (future musicians, researchers, teachers, critics, artistic directors...) aware of the immense heritage of the Conservatory Library, and on the other, making the still hidden treasures owned accessible. The objective of the laboratory is to acquire (also through library exercises) tools, methods, and criteria for searching and identifying a musical source that meets one's own needs for study, research, or artistic production, which will then have to be transcribed using music notation software.
The workshop will include an introduction to bibliographic tools and methods for music and musicological research (including online resources and repertoires), followed by a presentation of the Conservatoire Library's holdings, and the fonds and collections in which its manuscript and printed music sources are gathered. This will be followed by an exposition of the criteria that can lead each participant to identify a musical source appropriate to his or her personal and professional career and possible research to contextualise the source. Each student will then be asked to transcribe a score, a set of parts or a score with music writing software, contextualising the source in a brief introductory note. The section devoted to digital publishing will specifically provide participants with the critical-technical analysis skills indispensable for the correct digital transcription of a musical composition, and some of the most suitable graphic hypotheses for users with reading-writing disorders will be studied. Once the most suitable software, also open source, has been identified, participants will be able to learn the basic functions of computerised writing (from solo instruments to more complex ensembles). An in-depth seminar is also planned focusing on the critical analysis of the elements for recognising an autograph and for dating a manuscript without chronological indications.

Jotform registration form
In-house musicians
External musicians
Entry deadline: Thursday 28 September 2023 11.59 p.m.