Eleni Lapidaki

Aristotle University of Thessaloniki, Department of Music Studies, Faculty Member

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I am currently employed as Professor of Music Education at the Department of Music Studies, Aristotle University of Thessaloniki, Thessaloniki, Greece. Beside my piano performance studies at the State Conservatory of Thessaloniki and the University of Music Freiburg (Hochschule für Musik), Germany, I have earned a law degree from the Aristotle University of Thessaloniki, an M.A. in music education and music psychology from the School of Music, Ohio State University, and a Ph.D. from the School of Music, Northwestern University. My dissertation was awarded with the “Outstanding Dissertation in Music Education Award” in 1998 by the U. S. Council for Research in Music Education (CRME).

My publications and conference presentations concern a closer examination of interactions between the artistic, scientific, and pedagogical aspects of temporal experience in music, on the one hand, and creativity, imagination, and society, on the other.

Recently I was given the award for Academic and Scientific Excellence in Greek Universities by the Greek Ministry of Education (December 17, 2012). In Septmber 2011 I was awarded the Research and Innovation Award by The Aristotle University of Thessaloniki (Science Center and Technology Museum "NOESIS," Thessaloniki).

As the founder and coordinator of the interdisciplinary research project C.A.L.M. (Community Action in Learning
Music) my music teaching aims for a music education that breaks down the social, artistic, and pedagogical gap between university music students and students of "neglected" public and/or hospital schools who are excluded from the public sphere of music education, expression, and creativity—due to their geographical, economic, cultural, and political isolation.

Since 2010 I participate as senior team member and academic coordinator for the music education interventions in the research program “Active Inclusion of Roma Children of Central, Eastern, Western Macedonia and Thrace in the Educational System” which is funded by the European Union and the National Strategic Reference Framework (2010-2013).

During my sabbaticals I was an invited scholar at the University of Cyprus (School of Education) in 2001 and at the Universiteit van Amsterdam (Musicology Department) in the spring semesters of 2004, 2010 and 2013
Phone: +30-2310991807
Address: Department of Music Studies,
School of Fine Arts,
Aristotle University of Thessaloniki,
54124 Thessaloniki,
Greece.

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Papers by Eleni Lapidaki

Toward the Discovery of Contemporary Trust and Intimacy in Higher Music Education

Humane Music Education for the Common Good, 2020

Artistic reciprocity as course-based practice of crossing ‘mono-artistic’ boundaries in higher visual arts and music education

Journal of Visual Art Practice, 2014

The accuracy of the Content should not be relied upon and should be independently verified with p... more The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden.

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Communal Creativity as Sociomusical Practice

Oxford Handbooks Online, 2012

This article demonstrates the importance of communal music creativity in music education. The fir... more This article demonstrates the importance of communal music creativity in music education. The first part reviews the theoretical framework surrounding the relationship between practical socialization and creativity. The second part discusses music creativity as socio-musical practice. The third part describes the creativity-based project C.A.L.M. (Community Action in Learning Music), which aims to help students enrich their experiential learning through the development of musical practices that take place in, and through, the intersection of the musical worlds of the university and the school.

Uncommon Grounds: Preparing Students in Higher Music Education for the Unpredictable

Philosophy of Music Education Review, 2016

This article considers the contribution that Jacques Derrida's work Of Hospitality might make to ... more This article considers the contribution that Jacques Derrida's work Of Hospitality might make to higher music education as it unsettles the usual ascription of normative value to learning and teaching music at the university. Along these lines, what is most at issue in the encounter with Derrida's thinking is the concomitant notion of forms of temporality-unpredictability, slowability, immeasurability, anticipation, serendipity, and surprise. Higher music education is seen as the practice of social transformation through the realization of the notion of unpredictability of the "oral" being-together with and through music educational interactions that are not sacrifi ced to economically driven performance indicators and measurable outcomes. Furthermore, the article draws on the learning and teaching practices of de-familiarization of educational spaces and pedagogical responsibility to the others as ways to disrupt students' fi xed expectations about what good music teaching and mastery are. Overall, this article is a call to see unpredictability as another framework through which higher music education can seek to re-invent theoretical concepts as well as codes and conventions of teaching and learning practices by inviting us to contemplate their own insuffi ciency, incompleteness, and discontent.

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Towards the Discovery of Contemporary Trust and Intimacy in Higher Music Education

Proceedings paper YOUNG PEOPLE'S AND ADULTS' LARGE-SCALE TIMING IN MUSIC LISTENING

Perception of tempo in music is an extremely complex phenomenon. Although we can begin to compreh... more Perception of tempo in music is an extremely complex phenomenon. Although we can begin to comprehend the dimensions of this topic from our general musical experience, it is only recently that advances in digital technology have allowed the opportunity to empirically study perception of time and tempo. Yet, the unavailability of highly controllable test apparatus may not have hindered the experimental study of tempo as much as has a general lack of understanding of the relationship of tempo to other aspects of musical organisation.

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Learning communities and music education: Music teacher training as political action

Background Several music educators engaged in music teacher training observe that practical matte... more Background Several music educators engaged in music teacher training observe that practical matters cause student teachers feel lack of confidence about “how a lesson actually happens: sitting arrangements, organization and distribution of instruments, controlling noise level and behavior” (Hennessy, 2000, p.194). Others have become alert that the confidence of future music teachers can be enhanced if their training provides authentic musical experiences (e. g., Conway, & Finney, 2003; Lapidaki, in press). At the same time, music teacher educators have been slow to recognize the potential of music training to emerge “through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other” (Freire, 1993, p. 53).

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Learning from Masters of Music Creativity

There are several possible ways for investigating the creative process in musical composition in ... more There are several possible ways for investigating the creative process in musical composition in order to induce certain assumptions about the nature of the compositional experience that may provide a certain philosophical framework for shaping compositional experiences in music educational settings at all levels. By taking an approach mainly based on writings and interviews of twentieth and twenty-first century composers, such as Boulez, Ferneyhough, Foss, Ligeti, Xenakis, Reich, Reynolds, Schoenberg, Stockhausen, and Varese, among others, Eleni Lapidaki illus- trates certain parameters about their actual compositional process. Implications for music education are suggested for immersing student com- posers in learning experiences that respect their intuitions, search for their individuality, and place emphasis on innovation and creative freedom as inseparable from expression in their compositions. Asked in an interview how he could explain the creative processes involved in his co...

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Temporal stability in repeated listening tasks

research on stability of temporal judgments in music has increased considerably during recent dec... more research on stability of temporal judgments in music has increased considerably during recent decades. The context of this paper is the question whether a piece of music has one and only one 'right' tempo, and if so, whether this seemingly well-established concept possesses an absolute or right time framework in the mind of the lis- teners. This paper will review the literature on (a) the na- ture of timing in music from a biological perspective, (b) stability of motor and perceptual tasks during music per- formance, (c) personal or preferred tempo judgments, and (d) stability of tempo judgments in music listening. More specifically, the paper will focus on the use of inter- nal clock-based mechanisms to represent musical timing and tempo in repeated musical tasks that may help us ad- vance our understanding of the activity of the human body and consciousness in terms of what they reveal about mo- tor programs and precise tempo preferences involved in the musical experience....

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Temporal experience in ecclesiastical chanting: A collaborative approach between music psychology and Byzantine musicology

Background in Music Psychology. The determination and manipulation of tempo constitutes an import... more Background in Music Psychology. The determination and manipulation of tempo constitutes an important expressive parameter of music that enables various juxtaposed sound events of the musical structure to be woven together or phrased in real time in order to make the communication of a composition’s musical meaning viable. In other words, “the temporal pacing of a composition is what gives music its unique motional, emotional, and sensuous character, as has been acknowledged in most discussions concerned with music aesthetics, theory, and compositional or performance practice” (Lapidaki, 2000, p. 42). Recent research in expressive performance has shown that performers tend to indicate phrase boundaries (e.g., Chuan, & Chew, 2007) and, thus, clarify structure (Kendall, & Carterette, 1990) from tempo information by increasing the tempo between successive tones (Todd, 1995) or by manipulating the tempo of a composition according to musical units demarcated by prosodic cues (e.g., Palmer...

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Consistency of tempo judgments as a measure of time experience in music listening

Ch. 16 - Re-discovering/Facilitating Intimacy in Borderscapes of Higher Music Education

The chapter explores intimacy as a critical site of power and resistance. More specifically, inti... more The chapter explores intimacy as a critical site of power and resistance. More specifically, intimacy is considered as an arena in which social and political identities are negotiated, while inclusions and exclusions are continually established or disputed. I will argue for the adoption of a politics of intimacy that aims towards a more nuanced and less reductionist higher music education that can help us articulate the complexity of spaces of proximity as greatly as we live it. Such a reflection offers us opportunity to adopt a variable filter that sheds light on certain characteristics of borders, freedom, and the ways political power gives advantages to some people while failing others. The chapter concludes with a call to use research and practice in higher music education to understand intimacy between the self and the Other as a fresh approach to social transformation of educational borderscapes as it creates spaces in which people can express and deepen their interpersonal re...

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Temporal stability in repeated listening tasks

Empirical research on stability of temporal judgments in music has increased considerably during ... more Empirical research on stability of temporal judgments in music has increased considerably during recent decades. The context of this paper is the question whether a piece of music has one and only one 'right' tempo, and if so, whether this seemingly well-established concept possesses an absolute or right time framework in the mind of the listeners. This paper will review the literature on (a) the nature of timing in music from a biological perspective, (b) stability of motor and perceptual tasks during music performance, (c) personal or preferred tempo judgments, and (d) stability of tempo judgments in music listening. More specifically, the paper will focus on the use of internal clock-based mechanisms to represent musical timing and tempo in repeated musical tasks that may help us advance our understanding of the activity of the human body and consciousness in terms of what they reveal about motor programs and precise tempo preferences involved in the musical experience. Thereby, the theoretical framework of the Lapidaki (2000) study and the discussion of findings will be will be expanded and discussed in a new light. Finally, I will propose that large-scale timing in music appears to reflect forms of "implicit cognition," a term that has been used in psychological research to characterize situations in which mental processes can influence perception outside of phenomenal awareness and voluntary control. The material of this paper may prove useful in integrating a range of data and stimulating new research about the temporal organization of nervous system interactions and internal clocks with regard to tempo judgments in a complex nonverbal auditory domain.

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Temporal experience in ecclesiastical chanting: A collaborative approach between music psychology and Byzantine musicology

Eleni Lapidaki Department of Music Studies, Aristotle University of Thessaloniki, Greece lapidaki... more

Learning from Masters of Music Creativity

Eleni Lapidaki - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - Philosophy of Music Education Review 15:2

TOWARD THE DISCOVERY OF CONTEMPORARY TRUST AND INTIMACY IN HIGHER MUSIC EDUCATION

In I. M. Yob, & E. R. Jorgensen (Eds.), Humane Music Education for the Common Good (pp. 261-273). Bloomington, IN: Indiana University Press., 2020

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Uncommon Grounds: Preparing Students in Higher Music Education for the Unpredictable

This article considers the contribution that Jacques Derrida’s work Of Hospitality might make to ... more This article considers the contribution that Jacques Derrida’s work Of Hospitality might make to higher music education as it unsettles the usual ascription of normative value to learning and teaching music at the university. Along these lines, what is most at issue in the encounter with Derrida’s thinking is the concomitant notion of forms of temporality—unpredictability, slowability, immeasurability, anticipation, serendipity, and surprise. Higher music education is seen as the practice of social transformation through the realization of the notion of unpredictability of the “oral” being-together with and through music educational interactions that are not sacrificed to economically driven performance indicators and measurable outcomes. Furthermore, the article draws on the learning and teaching practices of de-familiarization of educational spaces and pedagogical responsibility to the others as ways to disrupt students’ fixed expectations about what good music teaching and mastery are. Overall, this article is a call to see unpredictability as another framework through which higher music education can seek to re-invent theoretical concepts as well as codes and conventions of teaching and learning practices by inviting us to contemplate their own insufficiency, incompleteness, and discontent.

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Artistic Reciprocity As Course-based Practice of Crossing ‘Mono-artistic’ Boundaries in Higher Visual Arts and Music Education

While music education research has examined facets of inter-arts collaborations at professional l... more While music education research has examined facets of inter-arts collaborations at professional level, there is little on inter-arts collaborations among students of different arts departments in the framework of common university courses. This article explores aspects of the learning of university visual art students and music students undertaking the course ‘Inter-Artistic Creative Thinking’, which concentrates on the stirrings and transformations of the role of the individual artist-student that are inexorably set in motion when learning occurs within an inter-arts collaborative environment. Topics addressed include artistic reciprocity through practical socialization and practice to ‘make the familiar strange’, inter-artistic creativity through sonic engagement, and ways to facilitate novel musical, visual and educational experiences and outcomes for both visual art and music university students beyond superimposed institutionalized specialisms.

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