The MSc “Ethnomusicology and Musical Performance” is open to holders of the first cycle of all the Departments of the Higher Education Institutions of the Hellenic Republic or similar institutions abroad, recognized by the IOATAP, as well as graduates of other Departments of the Hellenic Higher Education Institutions or similar institutions abroad, recognized by the IOATAP. The following are admitted as supernumerary fellows and members of the categories of VET, HES and RTD in accordance with par. 8 of Art. 34 of Law 4485/17.

For the academic year 2025-2026, a total of twenty (20) students will be selected for the specialization “Performance/Interpretation of Traditional Music” in the following directions:

4 (four) for the direction Traditional Singing

2 (two) for the direction Traditional Percussion

2 (two) for the direction Popular Clarinet

2 (two) for the direction Popular Violin

1 (one) for the Lute direction

2 (two) for the direction Uti

1 (one) for the direction Kanonaki

1 (one) for the direction Santouri

1 (two) for the direction Aegean Lyre (Cretan-Dodecanese Lyre)

1 (one) for the direction Pontian Lyra

1 (one) for the direction Nay-flute

1 (one) for the Politeiki Lyra direction

1 (one) for the direction Tabouras-Sazi

Interested candidates are invited to submit their application from 23/06/2025 until Sunday 14/09/2025 to https://eprotocol.uoa.gr/

More information about the lecturers and the curriculum is available on the website of the MSc https://masterethno.music.uoa.gr/

For secretarial support, those interested can contact the Secretariat of the Department at 210-7277894 and at the following e-mails: nflerianos[at]music.uoa[dot]gr (Mr. Nikolaos Flerianos) and mnikitidis[at]uoa[dot]gr (Mr. Michael Miltiadis Nikitidis).

For specific questions of an academic nature to the lecturers of the MSc Eleni Kallimopoulou (elkallim[at]music[dot]uoa[dot]gr), and Alexandros Kapsokavadis (alexkaps[at]music[dot]uoa[dot]gr).

Those who have received their degree or have proven that they have completed their studies by August 2025 are eligible to apply. Candidates who have completed the course of studies and are pending only the swearing-in ceremony for the degree must submit a relevant certificate from the Department accompanied by a detailed grade and degree.

NECESSARY SUPPORTING DOCUMENTS:

1. Application for participation.
2. A detailed curriculum vitae (with photo ID size) including information on studies, teaching, professional and research experience, computer skills, scientific and artistic activity.
3. Copy(s) of diploma(s) (or certificate of completion of studies, showing the grade of the diploma) and a certificate of all the years’ marks, showing the final grade of the diploma, numerically and accurately.
4. Certificate of equivalence of qualifications from the competent body for the recognition of qualifications (IOATAP) for those who come from foreign universities.
5. Publications in peer-reviewed journals, if any.
6. Evidence of professional, research or artistic activity, if any.
7. A photocopy of two sides of the identity card.
8. Two letters of recommendation from professors of higher education institutions, if the candidates are not graduates of the Department of Music Studies of the University of Athens.
9. English language certificate, level C1. An additional knowledge of a basic European language will be positively assessed. The level of knowledge will be established either by the possession of a diploma or by examination. The conditions of the examination are set out in a relevant notice posted on the TMA website. International students must present a certificate of proficiency in Greek. Students from foreign institutions must present a certificate of equivalence and equivalence from the IOATAP, according to art.34, par. 7 of L. 4485/17.

No file will be examined if it is not complete.

Acceptance of postgraduate students is based on the following SELECTION CRITERIA:

Α. The degree (or certificate), which must be at least 7.5 with the necessary certificates of equivalence from the IOATAP, in the case of a foreign university degree). The AC, with a specially reasoned decision, may, at its discretion, accept applications from candidates who have not received a grade of 7.5 in their degree, provided they have a second university degree, a postgraduate degree or a remarkable writing, research and artistic work or significant professional experience in areas related to the cognitive subjects of the MSc. The additional formal requirements must be fulfilled at the time the application is submitted.

Β. The performance of candidates in written examinations related to the content of the MSc. The syllabus and recommended bibliography for the written test is as follows:

1. Anogeianakis Phoebus, Greek Folk Musical Instruments, Ed. Melissa 1991 (2nd ed.), Introduction, p. 13-47.
2. Hapsoulas Anastasios, Ethnomusicology. Historiographical and ethnographic dimensions, Ed. Nisos 2010, p. 35-65.
3. Baud-Bovy Samuel, Essay on Greek Popular Song, Peloponnesian Folklore Foundation 1984, chap. C: Sea and land Greece, p. 25-40.
4. Kallimopoulou, Eleni and Alexandra Balantina, eds., Introduction to Ethnomusicology, Ed. Asini, Introduction, p. 9-58.

Γ. The practical examination before a panel of teachers in the specific artistic direction they wish to pursue; in particular, candidates will be asked to perform a musical programme of approximately 15 minutes, according to the following examination syllabus per direction:

TRADITIONAL SONG

1. A melismatic song of free rhythm: kleftiko or Thracian-Middle Asian or amanesque.
2. Three songs in different rhythms (five-note, seven-note, nine-note) from various regions of Greece.
3. An urban folk song of Polis or Smyrna or rebetiko.

Candidates must accompany their song with a percussion or other instrument of their choice on at least one of the above.

TRADITIONAL PERCUSSION

1. Rhythmic improvisation on one of the following instruments: dulcimer, tuba, tambourine, tambourine from Epirus, dahares, bendir, with a duration of up to 5′.
2. An exercise from a percussion score (to be given), with variations in sixteenths, with a bendir or tuba.
3. Rhythmic accompaniment of a song with or without instruments, with a tuba, a bendir or a tambourine from Epirus.
4. Accompaniment of 2 traditional dances, with dulcimer (from Pontos-Dipat and Thrace-Sygathistos) or with tuba (from Thrace-Zonaradikos and Central Asia-Karsilamas).

PEOPLE’S CLARINET

1. Free improvisation (taqasim) to one of the following sounds-maqam: hussak, hijjaz, rasht, huzam, with at least two alternations to related sounds-maqam of up to 5 minutes duration.
2. An instrumental tune from the repertoire of Epirus or Roumeli, with a choice from the following: Moiroloi, Scaros, Alabeis, Frasia with shooting, Arvanitiko, Papadia,

Zagorisios, Klamata, Genovefa, Chimariotiko, Berati with a twist on Tsakisto, Liaskoviki, Osmantas, Frasia Prevezianiki, Potamia, Arta, Old Itia, Karakosteiko, Svarniara, Livanateiko, Helios with a twist on Rast, Agiothodoriko.

3. An instrumental tune from the repertoire of Macedonia, with a selection from the following: Pushchenko, Guida, Zaramo with a spin on Hashapia, Stankena, Mustabeikos, Patrulino, Raiko.
4. An instrumental tune from the repertoire of Thrace, with a selection from the following:

Zoner with a twist, Sitting with a twist, Baidushka with a twist.

POPULAR VIOLI

1. Free improvisation (taqasim) to one of the following sounds-maqam: rast, hussak, hijaz, huzam, with at least one change to a related sound-maqam, lasting up to 5 minutes.
2. An instrumental tune or song from the repertoire of Asia Minor, Thrace or the East Aegean, with rhythmic improvisation.
3. An instrumental tune or song from the repertoire of the Cyclades (preferably a slide with a ballet twist), with rhythmic improvisation.
4. An urban folk tune or song (rebetiko, polite, Balkan, etc.), with free or rhythmic improvisation.

WTI

1. Free improvisation (taqasim) to one of the following sounds-maqam: rast, hussak, hijaz, huzam, with at least one change to a related sound-maqam, with a maximum duration of 5 minutes.
2. An instrumental tune from Asia Minor and the islands of the eastern Aegean (e.g. Karsilamas, Zeibekiko, Konioli) with rhythmic improvisation.
3. An instrumental tune from Thrace or Macedonia (e.g. Zonaradiko with spin, Sagonathistos with spin, Baidouska, Raiko, Patrounino etc.) or from the urban tradition of Epirus or Roumeli and Moria (e.g. Grava, Alabeis, Klamata, Genovepha, Liulios, Papadopoula etc.) adapted for oud.
4. A section from the verbal music tradition of Constantinople (Pesref, Semai) that includes a short introductory improvisation and a fast instrumental tune (Longa).

CANON

1. Free improvisation (taqasim) to one of the following sounds-maqam: rast, hussak, hijaz, huzam, with at least one change to a related sound-maqam, with a maximum duration of 5 minutes.
2. An instrumental tune from Asia Minor and the islands of the eastern Aegean (e.g. Karsilamas, Zeibekiko, Konioli) with rhythmic improvisation.
3. An instrumental tune from Thrace or Macedonia (e.g. Zonaradiko with spin, Syngathistos with spin, Baidouska, Raiko, Patrounino etc.).
4. A section from the verbal music tradition of Constantinople (Pesref, Semai) that includes a short introductory improvisation and a fast instrumental tune (Longa).

LUTO

1. Free tropical improvisation (taqasim), either as a stand-alone piece of music or as an introduction to a part of the programme.
2. An instrumental tune or song from the repertoire of Epirus or Roumeli.
3. Instrumental tune or song from the repertoire of the Cyclades or the Dodecanese.
4. An instrumental tune or song with mixed meter, from the repertoire of Macedonia-Thrace.
5. An urban folk tune or song.

During their examination, candidates are required to emphasize rhythmic and harmonic accompaniment and to demonstrate their soloistic skills by playing all or part of a score/song from their programme.

SANTURI

1. Free improvisation (taqasim).
2. Three songs or instrumental scores in different rhythms from different regions of the

Greece, with emphasis on the tradition of Asia Minor, the islands of the East Aegean and the Dodecanese.

3. An exercise from a score (to be given) for harmonic and rhythmic accompaniment of an instrumental score.

AEGEAN LYRIC (CRETAN – DODECANESE)

1. Free improvisation (taqasim).
2. Four songs or instrumental scores from the tradition of Crete and the Dodecanese, of which two are dance songs (sousta, pentozalis, maleviziotis, upper dance etc.) and two are seated songs.

PONTIAKI LYRA

1. Free improvisation (taqasim).
2. Four songs or instrumental scores from the tradition of Pontus, of which three are dance songs (in different rhythms) and one is a sitting song.

NEW- FLAME

1.Free improvisation (taqasim) to one of the following sounds-maqam: hussak, hijjaz, rasht, huzam, karchiyar, nihavend with at least two alternations to related sounds-maqam with a duration of up to 5 minutes.

2. Two instrumental compositions from the repertoire of the Russian composers of Constantinople, one by Pesrefi and one by Saj Semai in 10/8 hussoul in a sound-macam of the candidate’s choice.
3. An instrumental tune from the repertoire of Epirus with a selection from the following:

Skaros, Alambes, Selfo, Papadia, Zagorisios, Klamata, Genovepha, Chimariotiko.

4. An instrumental tune from the repertoire of Macedonia, with a selection from the following: Pustceno, Nizamiko, Pustnitsa, Mustabeiko, Patrunino, Raiko.
5. An instrumental tune from the repertoire of Thrace, with a selection from the following:

Zoner with a twist, Sitting with a twist, Baidushka with a twist.

POLITICAL LYRA

1. Free improvisation (taqasim) to one of the following sounds-maqam: rast, hussak, hijaz, huzam, with at least one change to a related sound-maqam, with a maximum duration of 5 minutes.
2. An instrumental tune from Asia Minor and the islands of the eastern Aegean (e.g. Karsilamas, Zeibekiko, Konioli) with rhythmic improvisation.
3. An instrumental tune from Thrace or Macedonia (e.g. Zonaradiko with spin, Syngathistos with spin, Baidouska, Raiko, Patrounino etc.).
4. A section from the verbal music tradition of Constantinople (Pesref, Semai) that includes a short introductory improvisation and a fast instrumental tune (Longa).

TAMBURAS

1. Free improvisation (taqasim)
2. A watch from the region of Macedonia [edit: La-Re-Sol]
3. A watch from the region of Thrace [Clockwise: La-Re-Sol]

* One of 2 and 3 should be in mixed rhythm

4. A free choice purpose in tuning La-Re-Mi

It will be particularly appreciated if candidates provide musical recordings of the compositions to be examined.

If candidates wish to be accompanied by a traditional instrument, they must arrange for their own accompanist.

Δ. The personal interview, for the successful candidates of the written and oral examinations, before the AC, where their general ability to cope with the requirements of the MSc is assessed. In particular, the candidates’ performance in the oral interview is evaluated on the basis of (a) their analytical thinking and their ability to approach, in a scientifically substantiated and methodologically consistent manner, issues related to the subject matter of the MSc, as well as the development of relevant arguments, (b) their knowledge of the relevant problems and literature and (c) the proximity of their scientific and artistic interests to the subject matter of the MSc.

The final ranking of the successful candidates is based 20% on the degree, 60% on the performance of the candidates in the written and practical examinations and 20% on the oral interview. Demonstrated musical knowledge of the candidates is essential.

TITLE AWARDED

The MSc, after the full and successful completion of the studies according to the curriculum, leads to the award of a Diploma of Postgraduate Studies in “Ethnomusicology and Music Practice”, in the specialization “Performance/Interpretation of Traditional-Folk Music”, in particular in the following directions: Traditional Singing, Traditional Percussion, Folk Clarinet, Folk Violin, Lute, Lute, Gunnery, Sandouri, Aegean Lyre (Cretan-Dodecanese), Nei, Politeiki Lyre, Tabouras.

The titles are awarded by the Department of Music Studies of the National and Kapodistrian University of Athens.

DURATION OF STUDY – STUDENT OBLIGATIONS – FEES

The duration of study in the MSc leading to the award of the MSc is defined as four (4) academic semesters, including the time for the preparation of the thesis. In order to obtain a Master’s degree, each postgraduate student must attend and successfully pass all the courses offered in the MSc and prepare a postgraduate thesis, thus accumulating one hundred and twenty (120) ECTS.

For their participation in the MSc “Ethnomusicology and Musical Practice”, specialization “Performance/Interpretation of Traditional-Folk Music”, postgraduate students pay tuition fees amounting to one thousand (1000) euros per semester. The fee is paid at the beginning of each semester. Students of the MSc who are citizens of the European Union, whose individual income, if they have the same income, and the family disposable equivalent income do not exceed the tuition fees, one hundred per cent (100%) of the national median disposable equivalent income and seventy per cent (70%) of the national median disposable equivalent income of the family, according to the most recent data published by the Hellenic Statistical Authority (EL.STATUS). This exemption is granted for participation in only one MSc. In any case, the number of exempted students does not exceed thirty percent (30%) of the total number of students admitted to the MSc. If the beneficiaries exceed the percentage of the previous subparagraph, they are selected in order of ranking, starting from those with the lowest income (art. 35, par. 2, Law 4485/17).

The examination will be held during the last ten days of September 2025 (the exact time and place will be announced in due time). Start of the 2025-2026 academic year: 13 October 2025.

The Director of the Postgraduate Studies Programme

Associate Professor Eleni Kallimopoulou

Maria Melachroniou was born in Athens and is a graduate of the

Experimental Music High School and Lyceum of Pallini. Under the tutelage of Pericles Papapetropoulos, she devoted herself to the sazzi, while through her acquaintance with Ross Daly she became close to the teachers Mehmet Erenler and Erdal Erzincan, studying the Turkish folk repertoire. He holds a degree in Greek Traditional Instruments – Tamboura from the Ministry of Education and Culture of Greece, and a Master’s Degree in Ethnomusicology and Cultural Anthropology, specializing in the performance/interpretation of Traditional Music and specializing in Tamboura from the Hellenic Academy of Music and Performing Arts.

She has studies in Developmental Psychology, Music Therapy and Special Education, and has been trained in issues of children with deafness.

During his school years, he started oud lessons with Antonis Apergis, and then studied with Necati Çelik and Yurdal Tokcan.

He holds a diploma in Byzantine Music and a degree in Fugue. He has been teaching tamboura since 2000 in Music Schools and in 2011 he obtained an instrumental position at the Music High School of Pallini. She has collaborated, as a music performer and singer, with important people in the field of Greek music, both in concerts and on recordings, such as Lykourgos Angelopoulos, Michalis Adamis, Giorgos Koumentakis, Martha Mavroidis, Savina Giannatou, etc. She is a member of the vocal quartet “Jasemi” and the musical group Palimpsisto Trio.

Chrysanthi Gika was born in Athens.

At the age of thirteen, she came in contact with the lyre for the first time. Since then, she has studied alongside distinguished musicians and teachers such as Socrates Sinopoulos, Derya Turkan and Ross Daly.

Her academic education began in 2014, with her admission to the Department of Music Science & Art of the University of Macedonia, in the direction of Greek Traditional Folk Music. After completing the first cycle of studies, receiving a degree of specialization in the instrument, she continued (in 2022) her studies in the second cycle and, specifically, in the program “Music Sciences and Arts” of the same institution.

From a young age he participated in various musical ensembles and student orchestras (Athens Conservatory, the Students “Orchestra of the Music Workshop” Labyrinth “, the Orchestra of the” Tettix “School, the musical ensembles of the K.E.P.E.M., the Romana Orchestra). In recent years he has performed in renowned festivals and concert halls around the world (Athens Epidaurus Festival, Festival D” Aix en Provence, Festival of Religious Music, Alkantara Music Festival, Houdetsi Festival, Herodou Atticus Conservatory, Oscar Niemeyer Auditorium, Auditorio Ibirapuera). In addition, he has collaborated with musicians and musical groups in Greece and abroad for the purpose of conducting performances and producing recordings.

Since 2017, she has been intensively involved in the teaching of the lyric lyre, having been a member of the teaching staff of her conservatories and conducting seminars in Greece and abroad. Since 2020, she has been a member of the “artistic mentors” of the “Ethno” program organized by Jeunesses Musicales International, while in the academic year 2021-2022, she undertook, as a scholarship holder of the University of Macedonia, the teaching of the polyphonic lyre at the Department of Music Science and Art.