In addition to performances, intensive workshops and masterclasses are offered by the musicians (Mirkovic, Godard, Cagwin). Classes can be arranged individually respective to interest and with group collaboration focusing on ensemble performance. Each musician brings unique elements from their background to this educational experience, striving to inspire creativity and musical development by incorporating traditional aspects with contemporary techniques and vision.
Vocal Polyphonic from Southeast Europe
Polyphonic singing from the Balkan regions is one of the most complex forms of musical expression in the vocal repertoire of European folklore: melodically as well as rhythmically. Many variations, intricacies, and intimacies exist that can be discovered and explored within these heritages.
A passionate ethnomusicologist, Ms. Mirković has been researching the polyphonic music from these countries for over 17 years. In her workshops she not only imparts her knowledge, competence, and passion, but also inspires and guides the participants to learn, understand, and preserve these rich musical art forms. In addition she educates techniques to use the voice in the proper style and context, enlightening the vocalist with the complexity of these traditions.
Bosnian and Serbian Rural Music, Bulgarian Polyphonic Singing from different regions, Albanian Iso-Polyphony, Croatian “Klapa” Singing, and much more…
Nataša Mirković Workshops
Jarrod Cagwin Workshops
Workshops and Masterclasses with J. Cagwin focus on inspiring the participants with multicultural aspects of rhythm and expanding their individual rhythmic security and creativity. Workshops can be tailored for all instrumental disciplines, hand percussionists, and drum set players.
Subjects include:
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Students are presented to a rhythmic solfege system from south India called Solkattu / Konnokol. This is a valuable rhythmic theory for musicians of all ages and disciplines which can be applied to any instrument or compositional style. Participants are introduced to a foundation for independent advancement and creative expansion using body movement / syncopation, vocal recitation, and cognitive application.
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Technical instruction on various hand drums stemming from South India, the Middle and Near East, North and West Africa. Spain, and Brazil.
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Creative concepts for drum set players and percussionists regarding the assembly of hybrid set-up configurations and their musical implementations.
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Exposure to "unconventional" rhythms specifically from the Balkan regions and the Middle East with attention to musicality and rhythmic security.
Improvising is a game, looking forward to the next Renaissance
Michel Godard Workshops
Improvising is a game!
Very often in our desire to improvise we have to face our fear of not playing well enough, of not playing the correct notes, not playing in good rhythm... If we allow ourselves to play like a child plays then there is no place for fear anymore. We can go forward much easier, faster, and joyous. In this method, improvising like we will do will allow us to eliminate our mental constraints (fear, judgement, insecurity…) to find the spot where emotions and desires are set free.
We will look for tools in Early Music and in Mediterranean traditional music to approach new, creative music through improvisation in a modal and melodic way.
We will start with simple exercises, allowing each of us to connect with the inner sound that comes through our musical instrument. We will explore XVI° and XVII° century Italian music to observe how musicians would improvise back then (they would call it "diminutions"). We will play some simple compositions (Frescobaldi, Cazzati…) from this time until they become part of our vocabulary and allow us to be free around them.
We will do the same with traditional melodies from south Italy or from Egypt to feel the power of modal melodies, making them again part of our vocabulary. We’ll see how the art of improvising has developed, like in most of musical traditions around the world, in the melodic way. Melodies are the essence of all music including our European classical and contemporary music. Gregorian chant, for example, is much more powerful than what people usually understand today and we will see this healing potential!
We will discover bridges between the past and present, looking forward to the next renaissance in music.
We will always have a deep connection with new music and free improvisation. All exercises, including those in early and modal music, will lead us to be as free and connected to the present as possible.
The only borders in improvising through music are the ones we impose or allow others bring upon us!