Type of Seminar: Open - Vocal
Participant Level: All levels are welcome
Sight Reading: not Necessary

This seminar will focus mainly on a repertoire coming from different regions of Turkey as well as from Kurdistan, Azerbaijan and Persia.

Type of Seminar: Open - Music Group

Participant Level: Intermediate

Sight Reading: not necessary

The tambour is the emblematic instrument of the Kurdish people of Iran. It is very important in both the folk and the sacred music of the Sufi order known as Ahl-e-Haqq (also known as Yarsani). This order was founded in the late 14th century by Sultan Sahak.

Type of seminar: Open – Instrument centered

Participant level: Basic to Intermediate

Sight Reading: not necessary

Throughout classes, the pieces studied will cover the various forms of the Afghan repertoire: from classical instrumental compositions, delving into the intricacies of Hindustani raga (melodic modes) and tala (rhythmic modes) ocean, through the ghazal of Kabul and the beauty of classical Persian poetry, to the rich Afghan folk music with its many colours and other types of songs.

Type of Seminar: Open - Music Group

Participant Level: Intermediate

Sight Reading: not always necessary

This course will focus on Armenian traditional and classical music. We will study the use of makam , as well as improvisations. The course will be taught on duduk, and the instructor will cover instrumental technique, however students who do not have a duduk and wish to learn Armenian repertoire are welcome to join on their respective instruments.

Type of seminar: Music Group

Level of participants: Intermediate

Sight Reading: necessary

The seminar will focus on:

-the understanding of usûls,
-their use in the area of Anatolia &
- the learning techniques on the performance of instruments (according to the level of the participants).

The goal is to start learning first the main usûls, which although they are less than 16/8, they are also prominent, time-consuming and difficult to learn. It would not be appropriate to proceed and to go beyond the 16-time usûls without learning them.

Type of seminar: Open – Music Group

Level of participants:musicians and composers of all levels and backgrounds who have an interest in exploring composition in modal music

Sight Reading: necessary

Special requirements: necessary to bring a tablet or laptop

Starting this year, the Labyrinth Music Workshop is organizing, in addition to the individual seminars with a specific theme, a continuous seminar that will last 3 weeks and that will focus on the whole process of composition, orchestration/ arrangement and finally the recording of the composition.
In the first week, under the guidance of Christos Barbas , the participants will work on a composition of their own.
In the second week, under the supervision and assistance of the maestro of the Labyrinth’s «Mitos" Orchestra, Pavlos Spyropoulos, there will be an orchestral arrangement of the pieces with the participation of members of the "Mitos" orchestra.
In the third week, the tracks will be recorded and edited by the sound engineer Vqngelis Apostolou.
In this way, students will have the opportunity to follow all the stages of the production of their own piece of music from start to finish with the help of experienced musicians and technicians.

Type of seminar: Open - Music Group (musicians & singers)

Level of Participants: Intermediate

SightReading: will be used extensively, but students experienced and skilled in learning by ear will not be excluded

The subject of the seminar will be the compositions and the repertoire of Ottoman and Turkish urban art music.

Type of seminar: Open-Music Group (instrumental)

Level of participants: all levels are welcome

Sight reading: helpful but not necessary

The actual seminar focuses on the composition & arrangement by the students themselves.

Type of Seminar: Open - Music Group

Participant Level: All levels are welcome

Sight Reading: necessary

In this seminar, we will examine and attempt to put into practice the necessary changes in approach and mindset which are essential from the very beginning of one's study, in order for a western-trained musician to successfully approach non-European (or even early European) modal musical traditions.