“Kreiz Breizh akademi” is an ironic reference to other productions that are not as educational or as cultural. Beyond that, “academy” seems to be a relevant concept. Our purpose is to bring together artists and trainers around a specific approach involved in practicing an art. And if this is a popular art, we are even more pleased to use the word “academy”.
For this to be a useful approach, it should not be one that has a time limit. As such, since the creation of the first orchestra in 2007, we have since been offering new training sessions that form totally new ensembles.
The repertoire will be naturally different from the one played by the first ensemble, but will be built upon the experience gained during training. In turn, depending on their skills, interests and availability, the musicians who have followed the courses will be able to become trainers and later on, orchestra directors for future students.
Erik Marchand imparts his knowledge of Breton music’s specific rules of interpretation: scale, rhythm, variation, etc. Focus will be placed on vocal practice in transmission and the participation of vocal ensembles within the orchestra. Trainers and stakeholders are invited to Brittany to work with the musicians.
The schedule and the choice of trainers are established according to our main concern, that is, evolution in modal understanding. Within KBA, Erik Marchand is the specialist of local music and its interpretation rules. He introduces Breton musicians to the way they should observe and interpret the scales specific to their music (many of them are aware of these specificities but feel the need to “organise” their musical impressions).
It is our belief that today, there is a need to form a large Breton orchestra that could answer the fascinating challenge of reviving the modal tradition of our region. The purpose of such an orchestra would also be to provide young Breton musicians with a musical culture that is often neglected in formal and community-based education.
We deem it imperative that the subsequent graduates of Kreizh Breizh Akademi be allowed to become instructors in modality and other particularities of Breton music. Some of these instructors may also be eligible to take over the management of future orchestras.
On the other hand, we believe it would be useful to allow students or musicians wishing to work with modal music to have the possibility of studying this particular aspect of Breton music. This will ensure the continuation of this work, as well as confirm the academic concept.
