Browsing by Subject "Musiikin historia"

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  • Tyrväinen, Helena (2015)
    Armas Launis’s interest in the North African Orient was manifest in three of his professional domains: travel writer, musicologist and opera composer. During his stays in Algiers over two winters between 1924 and 1927 in particular, Launis became personally acquainted with the countries of the Maghreb (Tunisia, Algeria, Morocco). My article examines how in each of these professional forms of expression, the immediate, local encounters merge with the discursive practices of European learning in Launis’s representations of Northern Africa.

In a travel book from 1927, containing references to Menemech, Yafil and Bachetarzi, eminent figures of the Arabo-Moorish musical tradition, Launis demonstrates his knowledge and expertise on the Algerian music scene. Written for a wide audience, his observations about popular traditions lack any detailed scholarly apparatus, intentionally so. He expresses respect for the ‘civilisatory mission’ pursued by the French in Northern Africa, and notes the remnants of Roman antiquity, but he also shows an interest in both historical and contemporary tensions between local tribes, nationalities, cultures, and religions. These were later interwoven in his operas Jehudith and Theodora, the latter unfinished.

In 1928, during a period of intensive operatic composition, Launis applied for a position as music teacher at the University of Helsinki, albeit in vain. The topic of his presentation lecture, “Features of Arabo-Moorish music”, met with both approval (Ilmari Krohn) and disapproval (Robert Kajanus). The many points of convergence with an existing article “La musique arabe dans le Maghreb” by Jules Rouanet (1922) were not noticed.

Having settled permanently in Nice in 1930, Launis planned the two operas, Theodora and Jehudith. They exhibit the religious universalism already developed in his earlier operas, but now in a new form, where the composer has become intrigued by the conflicts of the region and the political developments of the time. I examine in particular some of the ethnocentric accents found in Jehudith, relating them to a wider tradition of orientalism in the western operatic tradition.

  • Tyrväinen, Helena (2017)
    In this paper I analyse the ‘Russian celebrations’ organised in France in October 1893. Research into Franco–German relations has already produced abundant information on the musical consequences of the rejection of the Second Empire’s cosmopolitanism by Third Republic France. I aim to round out this picture of Third Republic musical aspirations by examining these Russian festivities, and in doing so demonstrating how nationalism steered the evolution of musical tastes in late 19th-century Europe. The October 1893 festivities, organised to honour a Russian naval visit to France, encompassed all strata of French society. Music constituted an integral part of the ceremonies that took place all over France. The most important events were in Paris and Toulon, and they were steered to a great extent by the French press, itself placed under governmental protection. The terms of the Franco–Russian diplomatic and military alliance were ratified soon thereafter. I illustrate the press committee’s use of music in various contexts from gala occasions to popular open-air celebrations. Using archival documents (Bibliothèque nationale de France, Archive of the French Ministry of Foreign Affairs), published contemporary testimonies, as well as daily newspapers and journals of amateur music associations as my sources, I analyse the interaction between the press committee and the participants of the events. The organisers drew on experience gained from previous public ceremonies of the young Third Republic. Regardless of the different social systems in France and Russia, and despite the apparent cosmopolitanism of the Franco–Russian celebrations, an attempt to strengthen French Republican identity can be perceived. The success of Russian music in France cannot be discussed in terms of musical taste alone. Franco–Russian friendship ensured the popularity in France of Russian composers and performers of many different orientations well before the arrival of Diaghilev’s famous Ballets Russes.
  • Tyrväinen, Helena (Edita Publishing, 2016)
    Arkistolaitoksen toimituksia
  • Kniazeva, Jeanna (Edita Publishing, 2017)
    Pro Finlandia. Suomen tie itsenäisyyteen