As a subject of study, the teaching of traditional instruments has attracted the interest of many Greek researchers, mainly after the official introduction of their teaching in Music Secondary Schools in 1988, and -later- in higher education institutions. Most of them have focused on the methodological problems that arose from the incorporation of oral traditions in the context of formal music education (for example, see Mavroidis, 1995; Kokkonis, 2007), as well as the consequences of this attempt to “institutionalize” traditional music, on the music itself (Dionyssiou, 2000; Ververis, 2019) and its performers (Kallimopoulou, 2009). But how did the traditional instrumentalists from rural regions acquire their skills? Looking at the existing literature, one notices a relative lack of studies on the ways in which folk musicians, of older and younger generations, learned and still learn their art. The first part of this announcement presents relevant information that emerged after the study of biographies of folk musicians, while the second part focuses on the case of Ignatis, a young musician with a leading role in the modern folk festivals of Lesvos, who acquired his musical skills without having attended classes at an educational institution such as a conservatory, music school or university. Some of the points of interest were related to elements such as: learning through enculturation, orality, informal forms of music learning, and learning from/with peers. It is the researcher's belief that although a “truly authentic” performance of traditional music outside of its natural context is impossible, the integration of authenticity into its teaching, even in settings of formal music education, is nevertheless important and desirable. Thus, the present case study can on the one hand provide information on the ways in which a contemporary folk musician acquires his/her art and, on the other hand, suggest ideas useful for the modern music educator regardless of the musical genre he/she teaches. Moreover, the dialogue initiated by Lucy Green in the 2000s on the enrichment of “formal” music education through non-formal music learning strategies, combined with a more general demand for the “decolonization” of Music Education, has turned the interest of music educators in new teaching approaches beyond the established teaching methods.

• Η μουσική διδασκαλία-μάθηση σε τυπικά, μη τυπικά και άτυπα περιβάλλοντα
• Διδακτική μουσικών οργάνων και μουσικών συνόλων: φιλοσοφία, μεθοδολογίες και καλές πρακτικές

Antonis Ververis was born in Athens and brought up on the island of Lesvos, Greece. He studied Musicology and Music Education at the Aristotle University of Thessaloniki, and Sociology at the University of the Aegean. He holds Master's degrees in Choral Education and Choral Conducting from Roehampton University, UK, and Lynchburg College, USA respectively, and in June 2017 completed his doctoral dissertation at the Department of Music Studies, Aristotle University of Thessaloniki.Apart from choral music, he has been involved in the performance and teaching of the santouri (folk instrument of the Hammered Dulcimer family). In the period 2009-2018 he worked at the Music Secondary Schools of Chios and Mytilene. Since 2018, he has been teaching at the Department of Music Studies of the University of Ioannina.