Songs from the Sephardic Judeo-Spanish tradition
and an approach to associated repertoireS*
IN MARCH – DATES COMING SOON
THESSALONIKI (GREECE)
In partnership with the University of Macedonia
& the French Institute of Thessaloniki
*Pending confirmation
CONTEXT
Unlike other musical traditions, Judeo-Spanish songs do not constitute a homogeneous stylistic whole. This diversity, which is due to their history, the many geographical areas in which they have developed and the many influences that run through them, leaves performers with a great deal of freedom, but this freedom must be part of a coherent framework that is faithful to the spirit that inspires them.
ERASMUS+ ELIGIBILITY CRITERIA
To participate in this training program and benefit from Erasmus+ funding, you must meet one of the following criteria:
– Be registered as a job seeker,
– Be officially recognized as a person with a disability,
– Be receiving minimum social benefits.
Each situation is unique, and we take into account individual profiles according to the required criteria.
For any further information, please contact us: contact@iimm.fr
OBJECTIVES
To become familiar with the poetic and musical world of Judeo-Spanish songs in all their diversity, integrating the historical, sociological and geographical context in which they are set.
Get to grips with the different branches of the repertoire and their specific features: from romances originating in medieval Spain to the kantigas born in Salonika or Istanbul in the 20th century, from secular love songs to coplas set to the rhythm of religious festivals.
Respect the modal constraints – and freedoms – of the repertoire (except for the songs, often more recent, that belong to the tonal universe): continuity and differences between the musical modes of medieval Spain, Arabo-Andalusian modes, Oriental and/or Ottoman modes.
TEACHING APPROACH
Maria Zopounidis will teach various songs during the masterclass. This work will alternate between collective learning and individual interpretation.
Time will be devoted to listening and comparative analysis of the songs and their various possible interpretations according to geographical area and period (from the first decades of the 20th century to the present day…).
As the workshop is essentially oral, no knowledge of music reading is required. However, scores corresponding to the songs studied will be distributed as far as possible.
The masterclass may end with a presentation by the participants of the work done during the week, including the main songs studied.
CONTENTS
- Body preparation: relaxing the body and becoming aware of any blockages, anchoring and fluidity of movement.
- Listening, availability, interiorisation and concentration, presence to oneself and to the audience.
- Warming up and vocal work: flexibility and agility, ornamentation and melismas, according to the songs being sung and respecting the modes.
- Learning and performing a number of Judeo-Spanish songs from the different branches of the repertoire: romances from the Spanish medieval tradition, kantigas. Coplas.
- Songs from the Salonican tradition (and more broadly from the eastern Mediterranean): similarities and differences with songs from the western tradition, mainly from northern Morocco.
- The possibilities of interpretation, accompaniment and the art of ornamentation according to geographical area, period and choice of performer.
- Contemporary interpretations: following trends and the ‘zeitgeist’, and/or opening up to one’s own singularity: finding one’s way/voice while respecting the specificities of the repertoire.
- Thematic constants encountered in the repertoire: for example, ‘border songs’ and la hermana cautiva, or themes with a double meaning (avre la tu ventana, ou la tu puerta cerrada”). Thematic continuity or rupture between the Western and Eastern Mediterranean.
- Possible approach to associated repertoires: liturgical Sephardic chant, Arabo-Andalusian chant, etc.
- Work on the language: prosody, the specific pronunciation(s) of Judeo-Spanish in relation to Castilian, the words you wish to emphasise according to their meaning and the emotion you wish to convey.
- Rhythmic approach to accompaniment with digital percussion: singing to accompaniment.
CONDITIONS OF PARTICIPATION
- Good singing experience and an interest in the diverse repertoire (no theoretical knowledge necessary).
- Even a superficial knowledge of Spanish and/or Judeo-Spanish will facilitate the work and learning of the songs.
- Open to amateurs and professionals, score readers and non-readers alike.
- Instrumentalists are also welcome, if they wish to accompany themselves and/or perform the instrumental interludes of the songs covered.
- If possible, bring a percussion instrument (frame drum such as bendir, daf, tambourine).
REGISTER NOW
>> ONLINE REGISTRATION <<
>> FEES AND REGISTRATION DETAILS <<
SCHEDULE:
10:00 AM – 1:00 PM & 2:00 PM – 4:00 PM
BIOGRAPHY
Maria Zopounidis grew up in Greece, immersed from an early age in a dual musical heritage: her Pontic Greek father passed down traditional songs from Greece, Asia Minor, and the Black Sea, where their roots lie; her Franco-Italian mother, a pianist, taught her piano and provided her with a classical musical education.
She moved to France to pursue her musical studies and, in 2018, obtained a Diploma of Musical Studies in lyrical singing from the Regional Conservatory of Avignon (CRR). She furthered her training at the Institut Supérieur des Arts of Toulouse, where she earned, in 2022, the National Higher Professional Musician’s Diploma in lyrical singing under the guidance of Sophie Koch and Didier Laclau-Barrère. She also earned a Bachelor’s degree in Musicology from the University of Toulouse Jean Jaurès and the State Diploma in lyrical singing. In 2021, she received the “Espoir” Prize from the Maurice Ravel International Academy in Saint-Jean-de-Luz, and in 2022, she began her professional singing career with the National Choir of the Capitole of Toulouse. In both 2023 and 2025, Maria performed the role of Susanna in Mozart’s The Marriage of Figaro at the Nuits Musicales en Armagnac festival.
Her passion for orally transmitted ancient songs led her, in 2022, to enroll in the Sacred and Secular Songs of the Sephardic and Al-Andalus Traditions program with Françoise Atlan at the International Institute of World Music in Aubagne, where she obtained her Diploma of Musical Studies in November 2023. Since then, she has been assisting Sandra Bessis in teaching the Sephardic Judeo-Spanish Song Tradition and Associated Repertoires program at the same institute. She has also been teaching Modern Greek there since 2022 as part of the Songs of Greece and Asia Minor course led by Maria Simoglou. Additionally, Maria completed a Master’s degree in Musicology at the University of Toulouse Jean Jaurès and presented her work under the supervision of Florence Mouchet, lecturer in medieval musicology, at the conference Modal Music of Yesterday and Today, held in April 2023 at the Abbey of Sylvanès.
Since June 2023, Maria has collaborated with various artists from the world music scene, including Iranian multi-instrumentalist Soroush Kamalian and guitarist and artistic director of Compagnie Rassegna, Bruno Allary.