Browsing by Subject "ethnomusicology"

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  • 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.
  • Kaheinen, Kaisla; Leisiö, Larisa; Erkkilä, Riku; Qiu, Toivo E. H. (Helsingin yliopiston kirjasto, 2022)
    Juhlakirja koostuu Tapanin Salmisen ystävien ja kollegoiden kirjoittamista artikkeleista, jotka tavalla tai toisella käsittelevät Tapanin uralla keskeisiksi muodostuneita teemoja. Valtaosa artikkeleista sijoittuu suomalais-ugrilaisen kielentutkimuksen alalle. Näkökulmien kirjo on laaja: artikkelit käsittelevät niin synkronista kuin diakronista kielentutkimusta etenkin Tapanin omissa tutkimuksissaan käsittelemien suomen murteiden ja samojedologian piiristä. Kielitieteellisten artikkeleiden lisäksi kirjaan sisältyy myös folkloristiikan ja etnomusikologian alaan kuuluvia tutkielmia, joiden teemat ovat niin ikään suomalais-ugrilaiselle kielentutkimukselle läheisiä. Tapanin lintuharrastus poiki sekin tieteellisiä artikkeleita tähän kirjaan.
  • 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.
  • Chen, Xinjie (Helsingin yliopisto, 2021)
    The present research project concerns Sámi music CDs and their production in the first decade of the current millennium through the theoretical lens of rooted cosmopolitanism (e.g., Appiah 1997; Cohen 1992). The Sámi are an Indigenous people who have originally lived in Sápmi, the historical living area of the Sámi in northern Norway, Sweden, Finland, and Russia. The Sámi music industry and recordings have developed as part of a cultural revitalization effort and have links with the global music industries. As an ethnomusicological study, the research investigates Sámi CD productions in the contemporary contexts of Sápmi, the Nordic countries, which here include Norway, Finland, and Sweden, and global music industries. In this research project, Sámi music CD productions refer to both tangible Sámi music CDs and the production process. The research defines Sámi music as music that is performed by Sámi musicians, regardless of language, music genres, and styles. It analyses musical sounds as well as visual and textual information on CD jewel cases and in the accompanying booklets of 180 tangible Sámi CDs published mainly in Norway, Finland, and Sweden in and around the 2000s. The dissertation considers Sámi CD productions in terms of the processes of creating, performing, recording, producing, and marketing contemporary Sámi music in the contexts of Sápmi, the Nordic countries, and the global music industry. The first chapter provides background on the Sámi recording industry and introduces the ideas of rooted cosmopolitanism in Indigenous- and music-focused research. Chapter two concerns the production of Sámi CDs, involving publishers, sponsorships, and in-kind supporters. Chapter three explores musical cosmopolitanism in a diversity of music genres and styles and examines intercultural interactions between Sámi and people from other cultural backgrounds to co-create certain CDs. Chapter four studies the language use of Sámi CDs, including the sung languages and languages used for CD jewel cases, liner notes, and booklets. It analyses nature sounds in the recordings as well as nature images on the CD covers and in the accompanying booklets. The chapter also investigates how the titles, lyrics, and other liner notes on CD covers and in the accompanying booklets relate to the origins of music, local legends, and local histories in Sápmi as well as to the musicians’ memories. Overall, from the perspective of rooted cosmopolitanism, it examines and interprets articulations of Sámi ethnic, regional, and national roots as well as their intercultural interactions via CD productions.
  • Niemi, Jarkko (Helsingin yliopiston kirjasto, 2022)
  • Hänninen, Juho (Helsingin yliopisto, 2020)
    The themes of this thesis are alternative, informal, and uncommercial cultural spaces, the scenes using the spaces, and the individual scene participants. The study’s frame is Helsinki between 2000–2019. The study combines relevant theoretical discussion from subculture research tradition and urbanism. The key concepts of the thesis are ‘scenes,’ a cultural definition of ‘subculture,’ ‘alternative cultural spaces,’ ‘DIY culture’ (‘do it yourself’), and ‘enclaves.’ The thesis presents Helsinki’s ‘DIY landscape’ to consist of interconnected actors—scene participants—who are part of a network that revolves around making, performing and facilitating music in a specific urban infrastructure—the city, Helsinki—and in which the alternative cultural spaces create physical ‘hubs’ for the scene. The data has been collected online via a combination of oral history recollections and qualitative surveying. The data was collected in collaboration between Helsinki City Museum and Music Archive Finland in fall 2019. The data consist of 70 individual responses. The data is treated through the epistemology of qualitative research and oral history, and therefore is seen to include both ‘factual’ information and the informant’s subjective interpretations, their experience. On a practical level, the analysis has been conducted mainly via qualitative content analysis (QCA), but also geographic information system (GIS) has been used. The study aims to explicate a widely recognized but poorly known cultural phenomenon. The study’s key results are as follows. Four types of alternative cultural spaces have existed: dedicated buildings, rooms, outdoor venues, and even a ship. All of the study’s 34 spaces have hosted live music events and a variety of other cultural, political, and social activities. The spaces have been acquired for use by renting, squatting, and asking permission, and in two cases are owned by the facilitator. With some exceptions, they are located in the fringe areas of Helsinki’s city center, have a relatively short lifespan (maximum of five years in a set location) and share ‘aesthetics of necessity’ that roots meager or non-existent funding and the use of subcultural symbols and art. The spaces follow certain ‘DIY operating principles’ that aim to create an encouraging and inclusive atmosphere for DIY participation. The spaces, and their users, have faced a variety of challenges, setbacks, and problems. These are rooted in funding, the deficits of the buildings and their facilities, and to other citizens, the police, and the City of Helsinki. The City’s role emerges from the data as ambivalent—a constrainer and enabler. According to the responder’s experience, the City does not have a uniform policy towards the use of vacant urban space, and DIY culture overall is not recognized. For the scenes, the alternative cultural spaces function as platforms where cherish—often ‘marginal’—music and subcultures. Some of the participants connect political and societal ideals to the spaces and DIY activities. DIY activities emerged as—sometimes self-purposefully—social and communal by their nature. In the spaces between scene participants take place socio-cultural ‘cross-fertilization,’ which sometimes leads to new organizational groups and even scenes forming. These might relocate their practices elsewhere, and thus DIY culture spreads to new locations in the urban infrastructure. For the individual scene participants, crossing with the scene represents an important part of finding a social reference group. Some of the responders described going through a ‘DIY phase,’ which is a several yearlong period in their youth when life orientations and identity are intensively connected to DIY culture. The meaningfulness of scene participation lasts to later life, even if the participant’s active years are foregone. For some, the skills and knowledge acquired in the scene creates a basis for a more professional career in cultural production. As the reasons for the diminish or end of the DIY participation are given the closure of an alternative cultural space focal for the participant, challenges in activities, and major life events. In the discussion, the thesis suggests the concept of ‘urban DIY enclaves’ in the toolboxes of urban planners and designers. The DIY enclaves differentiate from the broader urban landscape by their condition, aesthetics, political messages, and subcultural symbols. Socially they have been constructed to advance DIY culture and cherish the creative lifestyle associated with it. The concept is suggested as a device for acknowledging the existence of DIY culture; in other words, its need for space, and its participants’ eagerness to participate in the construction of the urban and cultural landscape.