Browsing by Subject "6131 Theatre, dance, music, other performing arts"

Sort by: Order: Results:

Now showing items 21-40 of 94
  • Ojanen, Mikko (Ruton Music, 2011)
    Erkki Kurenniemi ‎– DRY '73-9-8 (Compact audio casette; Ruton Music – RUT-003)
  • Laaksonen, Antti; Lemström, Kjell (2021)
    We study the problem of identifying repetitions under transposition and time-warp invariances in polyphonic symbolic music. Using a novel onset-time-pair representation, we reduce the repeating pattern discovery problem to instances of the classical problem of finding the longest increasing subsequences. The resulting algorithm works in O(n(2) log n) time where n is the number of notes in a musical work. We also study windowed variants of the problem where onset-time differences between notes are restricted, and show that they can also be solved in O(n(2) log n) time using the algorithm.
  • Ojanen, Mikko (Electroacoustic Music Studies Network, 2014)
    In this paper, I explore different examples of how the new means of performing music in concert and happening settings manifested in the early years of electroacoustic music in Finland. No single point when electroacoustic music arrived in Finland can be pointed out. The development was slow and the central-European trends never landed in Finland in their pure form. Experimental concert performances of the radical young generation of musicians played a significant role in the emergence of the electronic medium in the Finnish music scene. The young composers and artists absorbed influences quite freely. Although their work can be seen even as a conscious protest against tradition, influences from the works of Karlheinz Stockhausen and John Cage, for example, were strong. This paper focuses on the works that expanded the traditional organization of a concert performance, introduced new means to perform electroacoustic music or applied electronic music technology beyond a music concert setting. These include, for example, film music, art exhibitions, happenings and even poem reading events. The examples are gathered from the works of composers Henrik Otto Donner (1939–2013) and Erkki Salmenhaara (1941–2002), avant-garde artist Mauri Antero Numminen (b. 1940), experimental film maker Eino Ruutsalo (1921–2001), as well as their close collaborator, electronic musical instrument designer Erkki Kurenniemi (b. 1941).
  • Ojanen, Mikko (Valtion taidemuseo, Kuvataiteen keskusarkisto, 2013)
    Kuvataiteen keskusarkisto / Central Art Archives
  • Jitlina, Olga; Kangas, Anni; Krivonos, Daria; Pascucci, Elisa; Tereshkina, Anna (2020)
    This article narrates the politics of escape from borders and labour discipline in a post-Soviet migrant metropolis drawing on the art-activism project Nasreddin in Russia. It explores the relation between control and autonomy in urban migrations through a trans-aesthetics: a set of visual and verbal stories weaving together experiences and outcomes of the art project with academic debates on late capitalist urbanization. The encounter of artistic practices and migrants’ embodied, everyday struggles to inhabit the city, it is suggested, has potential for disrupting the disciplinary and exclusionary effects of capitalist transformations and migration enforcement. This is made visible through transient spaces of escape in which the everyday lives and social worlds of migrants, constrained by the precarization of labour and by the multiplication and diversification of bordering practices, are reclaimed through laughter, mobility and care. This point is illustrated by focusing on three such spaces and practices: trickster politics in the housing market, acts of disidentification and care work on the city ‘as a body.’ The article offers a methodologically innovative contribution to ongoing debates on aesthetic political economy, cities and borders and artistic and activist interventions in global cities.
  • Fernandez-Llamazares, Alvaro; Lepofsky, Dana (2019)
    Music is recognized as an essential constituent of the diversity of life on Earth and is enshrined in the concept of biocultural diversity. While research shows that song is an untapped library of biocultural memory, ethnobiologists have not yet explored the many areas in which studying songs and music through an ethnobiological lens could bring into focus the multi-dimensional relationships among humans and their biological worlds. 'the research articles in this special issue illustrate the importance of songs as both a repository of ethnobiological knowledge and as a means to construct, maintain, and mobilize peoples' intimate relations with their local ecologies. Although many traditional music-making systems are under risk of attrition, the extent to which traditional songs continue to be performed and celebrated in many Indigenous and local communities attests not just to the endurance and resilience of their cultures, but also to their deep cultural attachment to their lands as manifested through song. this special issue constitutes one significant step towards the recognition of music both as a timeless prism for looking at human-nature inter-relations, in all their complexities and magnificence, and as an essential form of biocultural heritage, worthy of documentation, conservation, and revitalization.
  • Bacon, George (2016)
    To understand any aspect of being-in-the-world in general or cinematic experience in particular, both reductionist and holistic approaches are needed. Psychological accounts can give us only functional explanations of human behaviour or responses to signifying artifacts such as art. To understand the significance of these experiences the psychological must be complemented by a study on a level which may be termed spiritual. This line of thought is applied to analyses of Robert Bresson’s Pickpocket, starting from David Bordwell’s formalist and cognitive account of why many people experience this film as religious despite there being no explicit reference to religion. Paul Schrader’s analysis of the formal structure of this film in terms of his notion of transcendental style in film goes a step forward by explaining how the formal structure as he analyses it suggests a transcendental dimension which cannot be addressed directly. This approach connects in an illuminating way with Slavoj Žižek’s notions of the imaginary and the symbolic sphere. Bordwell’s approach, functioning on the psychological level, is basically reductionist, while Schrader’s, boosted with Žižek’s ideas as appropriated for the purposes of this article, is holistic and operative on the spiritual level. This two-tiered analysis reveals how cinematic form in Pickpocket serves as an indirect expression of faith.
  • Carvalho, Márcio; La Frenais, Rob; Henttunen, Kaisa; Johannessen, Kurt; Kela, Leena; Krappala, Mari; Lu, Lynn; Puumala, Eeva; Rainio, Riitta; Rönkä, Mia; Sams, Mikko; Sofaer, Joshua; Svärd, Saana; Valkeapää, Juha (Turku New Performance, 2016)
  • Toivanen, Tapio; Pyykkö, Anu Emilia (2012)
  • Wolff, Charlotta (2013)
  • Schneidermann, Nanna; Abraham, Ibrahim Bahige (2017)
    As guest editors we welcome you to this special issue of Suomen Antropologi, dedicated to presenting new anthropological and ethnographic approaches to the study of hip hop. We organize these emerging ideas around the notion of ‘hip hop constellations’, as a way to analyze popular music as significant but contingent social practice. Exploring the diverse ways in which hip hop is part of the formation of ties of belonging and action, the following articles converge around indigenous notions of value, temporality, and relationality with vantage points in the everyday lives of hip hop’s protagonists. As such, the articles collected here show a renewed dedication to the empirical study of popular music as embedded social practice, and to the particularities of the conceptual worlds these practices produce.
  • Heinilä, Harri (Musiikkiarkisto, 2021)
  • Tyrväinen, Helena (2017)
    Conceived in memory of late Professor of Musicology of Estonian Academy of Music Urve Lippus (1950–2015), to honour her contribution to music history research, the article analyses transcultural relations and the role of cultural capitals to the discipline at its early phase in the university context. The focus is on the early French contacts of the founder of the institutional Finnish musicology, University of Helsinki Professor Ilmari Krohn (1867–1960) and his pupils. The analysis of Krohn’s mobility, networking and interaction is based on his correspondence and documentation concerning his early congress journeys to London (1891) and to Paris (1900). Two French correspondents stand out for this early phase of his career as a musicologist: Julien Tiersot in the area of comparative research on traditional music, and Georges Houdard concerning Gregorian chant and neume notation. By World War I Krohn was quite well-read in French-language musicology. But Paris was for him also a stronghold for international networking more generally. Accomplished musicians, Krohn and his musicology students Armas Launis, Leevi Madetoja and Toivo Haapanen even had an artistic bond with French repertoires. My results contradict the claim that early Finnish musicology was an exclusive domain of German influences.
  • Korsberg, Hanna; Bala, Sruti; Gluhovic, Milija; Röttger, Kati (Palgrave Macmillan, 2017)
  • Stepputat, Kendra; Seye, Elina (2020)
    This article introduces the theme and contents of this double issue on choreomusicology. It summarizes the historical development of research focusing on the relationship of music and dance, or sound and movement, especially within music and dance studies, but also in other disciplines. The authors advocate the term choreomusicology as an umbrella term for the various approaches used to investigate music-dance interrelations and related topics such as embodied music interaction. The focus is on combining views from ethnomusicology and ethnochoreology, which offer new potential to choreomusical research with their culturally sensitive insights based on ethnographic fieldwork, often including practical understanding of the traditions studied.
  • Kolltveit, Gjermund; Rainio, Riitta (Ekho verlag, 2020)
    Publications of the ICTM Study Group on Music Archaeology
    This book arose from an international symposium in Honour of Cajsa S. Lund that took place in 2016 at Linnaeus University’s Department of Music and Art, in Växjö, Sweden. The symposium was organized by Nordic music archaeologists Gjermund Kolltveit (Oslo) and Riitta Rainio (Helsinki), with Cornelius Holtorf and Karin Hallgren as local contributors at Linnaeus University. It was funded by the Swedish Research Council, the Nordic Culture Fund and Musik i Syd. The book is edited by Gjermund Kolltveit and Riitta Rainio, and published in Berlin by Ekho Verlag. The contributors are Cornelius Holtorf, Iain Morley, Catherine Homo-Lechner, Emiliano Li Castro, Rupert Till, Frances Gill, Annemies Tamboer, Graeme Lawson, Stefan Hagel, Timo Leisiö, Anders Söderberg, Dorota Popławska, Andrzej Janowski, Stanisław Mazurek, Simon Wyatt, Raquel Jiménez Pasalodos, Riitta Rainio, John Purser, Joachim Schween and Cajsa S. Lund.
  • Rainio, Riitta (2014)
    Archaeological excavations in Finland have uncovered a large amount of bells, pellet bells and other objects created for producing sound. These findings offer us a new, fascinating sonic window into the so far unknown soundscape of the Iron Age and complement the writing of history of more recent eras.