Browsing by Subject "1970s"

Sort by: Order: Results:

Now showing items 1-4 of 4
  • Lassfolk, Kai; Suominen, Jari; Ojanen, Mikko (National and Kapodistrian University of Athens, 2014)
    DIMI-6000 is an early microcomputer-based synthesizer designed in the mid-1970s by the Finnish inventor Erkki Kurenniemi. Designed as a hub for electronic music studios, DIMI-6000 featured a computer-controlled analog sound synthesis circuitry and a modular design. Despite its innovative design, only two units were built, one for Finland's national broadcasting company YLE and the other for Swedish composer Ralph Lundsten. This paper presents an overview of the instrument and its use, especially of the unit built for the Experimental Studio of YLE.
  • 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).
  • Bleibinger, Bernhard (Helsinki Collegium for Advanced Studies, 2016)
    The emphasis of the Fort Hare music programs of the 1970s and 1980s was on Western music. It was only in 1998 that Dave Dargie introduced an innovative African syllabus – one that reflected the cultural background of the students and their specific, practical way of learning – by integrating traditional African music which was collected in the field and added to course content. At that time most of the students came from rural schools and hardly had any formal music training before registering at the university. The new BMus degree program, which was introduced in 2012 in East London, still follows Dave Dargie’s most fundamental ideas, namely: practical approaches and compulsory components of African music. Yet the needs, the demographic composition, and the schooling background of the student body at the department have changed since then, bringing new expectations and challenges with reference to the entrance level and career wishes of students, but also new opportunities for a young society.
  • Ojanen, Mikko; Lassfolk, Kai (Electroacoustic Music Studies Network, 2012)
    Erkki Kurenniemi was a central figure in the Finnish experimental and avant-garde scene during the 1960s and early 1970s. He collaborated with several Finnish and Swedish composers and artists, designed a series of unique electronic instruments and founded the first electronic music studio in Finland in 1962. Kurenniemi’s technologically oriented approach to the composition process challenges the traditional idea of the realization of a musical work – and blurs the definition and meaning of the work-concept. Kurenniemi’s compositions can be roughly divided into two categories: “official” pre-planned works and material tapes. Kurenniemi produced a large amount of electroacoustic material to be used in compositions by him or other composers. Some of this material ended up on audio releases as such and gained the status of a musical work. The use of raw, unedited and unprocessed material gives an interesting starting point in analysing the definition and meaning of the work-concept in electroacoustic music. Here, an overview of Kurenniemi’s electroacoustic music is presented with special interest in material tapes and instrument demonstrations that either have so far remained as such or that have been considered as musical works. Recently, there has been a growing international interest in Kurenniemi’s work, both in the form of art exhibition exposure, audio releases, academic research as well as a film documentary by Mika Taanila. The transformation process of material tapes into pieces of art still continues due to audio releases of previously unpublished material.