Browsing by Subject "nykymusiikki"

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  • Haavisto, Jussi-Matti (Taideyliopiston Sibelius-Akatemia, 2015)
    Tutkimuksen tarkoituksena oli selvittää yleisön kokemuksia aikamme taidemusiikkikonsertissa. Tutkimuksessa keskityttiin neljän ei-muusikon kokemuksiin. Aineistoa kerättiin kuulijoiden yhden konserttikäynnin ja kyselyhaastattelun avulla. Työssä verrattiin kuulijoiden vastauksia tutkimuskonsertin teoksiin. Tavoitteena oli myös saada lisätietoa siitä, minkälaisia havaintoja sellainen kuulija, joka ei ole opiskellut musiikkia ammatikseen, voi tällaisessa konsertissa tehdä. Tutkimustuloksista kävi ilmi kuulijan "vastuu" konsertin vastaanottajana: Konserttiyleisössä kuulija voi olla aktiivinen tai passiivinen osapuoli musiikin vaikutuksen piirissä. On myös mahdollista, että säveltäjä kykenee välittämään jopa fyysisiin tuntemuksiiin assosioituvia asioita teoksellaan, vaikka kuulija aina tulkitseekin teosta omalla yksilöllisellä tavallaan oman mielensä kautta. Tutkimustuloksista oli nähtävissä, että kuulijat tulkitsivat musiikkia tietoisen ajattelun, kehon tuntemusten ja intuitiivisen mielen tai alitajunnan tuottamien tunteiden perusteella.
  • Dornik, Manca (2020)
    Learning and performing contemporary art music is considered among many students and teachers as a music, which is demanding, complex to understand and easily brings out the extremes of the learning and performing ways of processing information, but also bringing out also wide possibilities of co-creating art with another artists and diverse usage of new technologies, practices and multi disciplinary projects. Awareness of diverse inputs from always changing and developing contemporary music culture, evokes in nowadays artists an extensive spectrum of diverse formations for navigating throughout learning, teaching, performing and thinking processes. Being mindful contemporary artist brings out all above, with usage of own perception and understanding of arts, leading to the usage of several intelligences, either consciously or unconsciously, towards the holistic approaches and diverse ways for contemporary art music practices - an area that should be investigated with help of neuroscience in the future. Leading on The Theory of Multiple Intelligences developed by Howard Gardner, this seminar thesis conducted in Finland, at the Sibelius Academy of The University of the Arts Helsinki, is a qualitative research about the connections among the intelligences on how the four experienced teachers, performers and professors (Ph.D. Mieko Kanno, DMA Veli Kujala, DMA Mika Väyrynen and DMA Juho Laitinen) describe their teaching, performing experiences and understandings of contemporary art music. Their valuable experiences within this field of music are understood throughout Gardner’s multiple intelligence theory, describing what intelligences do certain occasions raise in them, including sharing their experiences about how several inputs from their own lives are contributing to the perception and broadening aspect of contemporary art music. The findings suggest that considering only musical intelligence as an only possible intelligence for musicians, is not the case for any kind of music, whereas especially inside the contemporary art music, the ‘mindful contemporary artist’ should possess, or be aware between all of the possible intellects. This paper concludes with a realization (with the support from both literature and the qualitative research semi-structured interviews) that mindful contemporary artist also possesses, either on subconscious or conscious levels, the visual-spatial intelligence, the linguistic intelligence, the logical-mathematical intelligence, the bodily-kinesthetic intelligence, the intrapersonal and the interpersonal intelligences and the naturalistic intelligence, with leaving open suggestions for reader and his/her own interest to ‘digest’ and start thinking and forming own personal conclusions about this subject of research.
  • Perttunen, Anna-Maija (Taideyliopiston Sibelius-Akatemia, 2015)
    Kirjallinen työni pureutuu tekstin ja sävellystyön suhteeseen. Peruskysymyksenäni oli: millaiset lähtökohdat teksti antaa sävellykselle? Huomioni oli siis erityisesti vokaalisävellystyön alkuvaiheessa, jossa teksti ja sävel löytävät toisensa. Työtäni varten haastattelin kokeelliseen musiikkiteatteriin erikoistunutta säveltäjä Miika Hyytiäistä. Tutkin tekstin ja musiikin suhdetta paitsi laulajana, myös satunnaisena vokaalilyriikan kirjoittajana. Haastattelussani selvisi, että säveltäessään vokaalimusiikkia Hyytiäinen käyttää hyvin erilaisia tekstejä. Hän tilaa uutta materiaalia ja hyödyntää jo olemassaolevia tekstejä muun muassa tietokirjallisuudesta. Hyytiäinen haluaa säveltäessään haastaa tekstiä ja tarvittaessa ponnistaa sitä vasten. Kirjallisen työni nimi kumpusi Hyytiäisen ja runoilija Riikka Pelon välisestä keskustelusta. Siinä äidin ja tyttären välistä suhdetta verrattiin Möbiuksen nauhaan. Myöhemmin Möbiuksen nauha päätyi myös lavastukselliseksi elementiksi Hyytiäisen Aikainen-teokseen. Pohdinta-osuudessa vertasin Hyytiäisen vastauksia säveltäjä Mikko Heiniön kokemuksiin vokaalilyriikan säveltämisestä. Kumpaakin yhdisti muun muassa halu kirjoittaa musiikkia ihmisäänelle. He myös nostivat esille tekstin vastuksen, joka tuo prosessiin tarvittavaa kitkaa ja sen myötä energiaa.
  • Gunnhildur Einarsdóttir (Sibelius-Akatemia, 2013)
    The goal of my doctoral-project is to promote the harp as an important instrument in contemporary music, to show its possibilities, and to encourage composers to write for it in new and inventive ways. My thesis is closely connected with this goal. The thesis, presented in the form of a web site, is a manual of contemporary harp techniques and notation for composers. Although the harp has become increasingly popular in recent years, general knowledge of the instrument's essence, its functions, and in particular its notation still seems to be inadequate and inconsistent. Orchestration books are outdated, and new playing techniques call for new notation guidelines. The web site includes visual and audivisual examples of various harp techniques, both traditional and contemporary. Furthermore notational examples of all techniques are included. The web site is divided into 4 parts. The first part, entitled The harp, includes general information about the harp and its basic functions. Part two, Notation Manual, is a lexicon of conventional and contemporary playing techniques and effects and how to notate them. In this part different aspects of each technique are explained focusing on different parameters; production, sound, notation and range. Part three is a glossary of terms used on the website and additionally includes links to harp-specific websites. The final part consist of a bibliography of books and notation-manuals and a list of reference repertoire played and consulted during the compilation of the web site. My doctoral concerts have focused on demonstrating various aspects of the existing contemporary harp repertoire. From large scale solo harp works to smaller chamber works, the pieces in my concerts have one aspect in common; they are all written by composers who were not harpists themselves. Furthermore, most of the composers have worked closely together with a harpist during the composition of their work. This tradition of harpist-composer co-operation was continued in my work with various composers on numerous new compositions during the doctoral project.
  • Domínguez Almela, José Carlos (2019)
    This research project investigated the current role of contemporary classical music in music education in Andalusia (Spain). The context for this topic came up from my own experiences as a music student and performer in two different environments: Spain and Finland. Besides this, I also explored three research questions related with the main aim of my research: What is the current interest of students in learning contemporary classical music? How does the stage of study at which contemporary classical music is introduced influence the perception of the student about this music? What are the benefits of learning contemporary classical music during the study years? The principal problem that I found in this topic was the limited resources about contemporary classical music in conservatoires or music academies. So, I had to consult literature focus at elementary and secondary schools. For the task of finding answers to these questions, I used the Schafer’s theory from the second half of the 20th century, creative music education, and the history life of a clarinet teacher and active performer in contemporary classical music repertoire. He gave his opinion about these themes and brought out his life experience as a music educator for over twenty years. The results showed the crucial role of teachers in the music education of students. Through their formation in contemporary classical music, they increase the interest and motivation of the students on it. In addition, contemporary classical music offers benefits for the students and it could be incorporated at any level of the studies, including low stages of studies.
  • Fräki, Sonja (Taideyliopiston Sibelius-Akatemia, 2016)
    The study focuses on Kalevi Aho's (1949–) Piano Concerto Nr 1. This work, complex both rhythmically and melodically, was first inspired by the mathematical concept of cyclic numbers. The material of the concerto is based on a 16-tone row deriving from cyclic numbers. The author is mainly interested in the piano texture of the work. She asks whether there are certain elements of texture that are similar to other works of the composer. Having played the complete works of Aho, the author's experience as a pianist helps her find special characteristics in the music. In this study she distinguishes seven types of piano texture and discusses their significance to the pianist's interpretations. The main focus in this text is articulating the pianist's way of working while learning a complex contemporary piece of music. Therefore, the author describes her own rehearsing process of the concerto by introducing and comparing the different methods used while rehearsing the piece. She also discloses how the elements of the piano texture were found during this process. Her previous knowledge on the composer's other works played a significant role in this.