Musiikkikasvatuksen, jazzin ja kansanmusiikin osasto


Recent Submissions

  • Tuladhar, Riju (Taideyliopiston Sibelius-Akatemia, 2018)
    Nepal, a heterogeneous country with more than 120 ethnic groups, carries the label of being one of the most gender unequal countries in South Asia. Music plays an important role in the native ethnic group of Kathmandu valley, the Newar community, incorporating practices that are also often divided along gender lines. Although It is a broad group consisting of various ethnic, racial, caste and religious communities, older men in the family often hold the responsibility for making important decisions. The majority of Newari women are excluded from household and communal decision making, and as such, lack opportunities for active decision making concerning their own lives. In this research report, I outline the findings of a case study of Newari women participating in a Dapha/Bhajan ensemble, which is usually reserved for men. The focus of this study was on how participation in such an ensemble as affected the social capital of members of a women-only ensemble in Nepal. Through focusing on their participation in two public events outside their community surroundings, this research attends to changes in the womens’ self confidence, musical and social horizons, social support, and political and social participation. The findings suggest that participation in music-making can be seen as a vehicle to female empowerment and should be taken into consideration when thinking about future music education in Nepal. Music making and participation could have a potential for more equal society.
  • Karki, Kushal (Taideyliopiston Sibelius-Akatemia, 2018)
    With music lessons absent from many school curricula, and private tuition often out of financial reach for many families, many Nepali children and young people access music education through projects led by voluntary teachers. In this research report, I communicate the findings of a case study on Nepali music teachers volunteering their time and skills to work in extracurricular music programs. For the purpose of this study, I understood these teachers’ work as a form of activism. Teaching artists discussed in this study volunteer their time to teach music to the children. In collaboration with the school, project described in this study also negotiated free tuition to the students that are in need. Music thus served as a bridge creating opportunities for children not just to learn music but have access on education. The data of this study consists of teacher interviews. The reflections of the researcher, who has been also part of the project, are included in the data as well. The data revealed various challenges along with possible solutions that the teachers experienced. Several things affected on the motivation of the teachers: instrument unavailability and challenges in making short and long term plans were some of the main problems that stood out from the interviews. Almost none of the teachers is formally trained, but started to work after having experience as a musician. They felt discouraged, while lessons would not give the desired results. However these issues encouraged teachers apply new approaches to the music lessons. The unavailability of instruments supported teacher’s creativity. Also the approaches established during the process, gave more room for children to work with each other. In other words, when teachers faced unexpected situations, it drove them to learn something new themselves. The study has given direction towards how teachers belief in teaching could foster the wellbeing of self and make an impact on the society outside classrooms. The profession of a teacher is a commitment and teacher training is a necessity in the majority world like ours. Still, very few consider teaching as a profession. The values that teaching produces is neglected as understanding of the core values of teaching is still greatly lacking. Applying creative approaches to make sense of teaching is a key to professionalism. Therefore, training of teachers who are capable of working creatively in various learning environments is crucial considering the impact that they make in the society.
  • Shah, Iman Bikram (Taideyliopiston Sibelius-Akatemia, 2018)
    Music Technology (MT) has been an effective tool in music education by providing helpful means that can guide students to develop a better understanding of music. MT is mostly used in notating, arranging and composing music which in turn lets students understand how music is created. The new high school music course in Technical and Vocational Stream of Education implemented in 2016 in Nepal, has put MT as a compulsory subject and this study was carried out in Nepal’s first music school of this kind. The overall aim of this study was to investigate how music teachers can promote equality in their classrooms. This was investigated through two research questions: 1. How have these two girls experienced inequality in the music technology class? 2. How can the teacher work to enhance equality in the music technology classroom? The findings of this study indicated that the access to technology is the most important factor which influences how students learn and use technology in their music studies. Keywords: Equality, Music Education, Music Technology, Nepal, Practitioner Research
  • Shrestha, John (Taideyliopiston Sibelius-Akatemia, 2018)
    It has been stated that peer learning can be a continuous part of a learning process and in many contexts it has been used as a strategy in which participants from different ages and levels help each other to learn from each other. Hence, the aim is to develop collaborative learning and cooperation. In this presentation I will explore this phenomenon from the perspective of a Nepali rock band, of which I am a member. Teaching and learning in Nepal can be very stratified. For example, it is common to have a graded status levels in society which builds hierarchies in educational contexts. Moreover, the existing power relations between teachers and students create inequality. Such societal hierarchical boundaries in Nepal are deeply rooted in everyday activities. Consequently, a rock band provides a particularly interesting case for music education in Nepal, suggesting how these broader inequalities in teaching and learning can be addressed. This presentation investigates peer teaching and learning in one Nepali rock band, and its potentials for providing models for site of formal education. The main features of the study highlight the diversity in musical interactions among band members through formal and informal teaching/learning situations. The data collection included interviews based on the band members’ past and present experiences as musicians and their working methods in the group. The findings suggest that among the important features in peer learning are originality, teaching and learning within the band, individual responsibility and contribution and leadership.The study discloses various circumstances where both formal and informal learning was present. As a conclusion, new ways of musical learning can be developed through combining the features and qualities of both formal settings and informal practices. Among such features are collaborative learning exercises, such as peer review, peer teaching, group interactions and collaborative composing through shared musical ideas which lead to insights in how band members develop shared repertoires of musical communication and understanding . Furthermore, the findings show how individual expertise can benefit the team as a whole. Thus, peer teaching and learning in various ensemble settings where group learning and sharing ideas are more prominent opens new conceptual horizons for music education. In a broader sense, this promotes active learning, reinforces learning by instructing others, and allows greater understanding among each other. In this way, the rock band setting can provide future paths for the wider field of music education.
  • Isotalo, Ella (Taideyliopiston Sibelius-Akatemia, 2015)
    The aim of this thesis was to carry out research into the traditional Tanzanian fiddle, or Zeze as it is called in Tanzania. The researcher investigates building and playing techniques, as well as some of the musical traditions connected to the instrument. I, Ella Isotalo, am a folk musician, and my main instruments are violin and jouhikko (the Finnish bowed lyre). I became interested in the Tanzanian zeze during my first stay in Tanzania as an exchange student in 2012. During my second trip, in 2014, I focused on collecting detailed information on the instrument, which is presented in this paper. The paper is divided into four main areas of focus: 1. The musical history of Tanzania. This begins with an overview of the country and then focuses on the distinctive characteristics of specific musical areas of Tanzania. This overview includes observations about the diversity of Tanzania's musical history, which has been influenced by many different peoples, including the Arabic slave traders and the Christian missionaries. 2. A brief presentation of various African one-string fiddles, followed by more detailed information on the zezes of two Tanzanian ethic groups, namely the Wagogo and Waha people. There are numerous differences between the various types of zezes, including the materials they are made from, the number of the strings and the structure of the bow. Tanzania is a vast country and materials vary greatly in different parts of the country, which also has an affect on the instruments. The Wagogo people's bow is traditionally a stick, whereas the Waha people make their bow from a bent stick with sisal fiber hair, for example. 3. A step-by-step instruction manual, including pictures documenting the process of building one variety of Tanzanian four-string zeze. This is based on a model by renowned Tanzanian musician, Hukwe Zawose. (1940-2003). 4. This section includes information on playing techniques, tunings and examples of the music of the Wagogo and Waha ethnic groups, with attached photographs, audio and video examples. The world is changing rapidly and Tanzania cannot help but be part of this change. Everyday life is very different from what it was just some years ago. This thing called progress has profound affects on music and the role of traditional instruments. Playing music is not an integral part of life anymore, at least not in the way it used to be, and the function of the instruments has changed dramatically. For example, the zeze is no longer used by a shepherd as a solo instrument solely for his own entertainment, but can nowadays be played together with other instruments and be a part of an ensemble.
  • Virkajärvi, Veikki (Taideyliopiston Sibelius-Akatemia, 2017)
    Opinnäytetyön aiheena oli Joe Passin säestystyyli duokokoonpanossa. Siinä pyrittiin kiteyttämään Joe Passin säestyksen ominaispiirteet, pohdittiin niiden muodostumista ja sitä, miten ne vaikuttavat esitettyyn musiikkiin. Työhön sisällytettiin monia lyhyitä transkriptioita, pohdintaa säestyksen kuulokuvasta ja arvailuja Joe Passin ajatuksenkulusta.
  • Vainio, Annika ([A. Vainio], 2015)
    Networking is an essential part of organizations' operations, also in the cultural field. The aim of the study is to examine why and how organizational network relations are developed in an arts organization and to explore the individual influence on organizational network relations. These questions are investigated through a case study on the Finnish Institute in London. The Institute has purposefully developed its organizational networks in recent years. Interviews with current and previous employees of the Institute provide the data of this thesis. In theoretical framework, concepts of interdependence, embeddedness, and more recent studies of individual influence in network relations are presented. The analysis of the study discusses central topics: motives for network formation, evolution of network relations and individual influence on organizational networks. The findings of the research provide useful insight into organizational network relations developed by an internationally operating arts organization. Corresponding with the theoretical framework, this research demonstrates that organizations create network relations in order to gain knowledge, reputation and to access financial resources. This study shows that in the art field desire for developing quality projects and fierce competition are additional motives for network creation. As existing studies suggest, this thesis illustrates that network relations are embedded in already existing social ties. Network relations evolve based on previous connections between organizations and individuals. Individuals are found to influence organizational networks. First, individual competencies affect organizational network relations. Second, organizational network relations are found to be strongly linked to individual employees.
  • Kuittinen, Emmi (Taideyliopiston Sibelius-Akatemia, 2016)
    All the People`s Sorrow. Making a Concert of Laments is a final project for the Global Music Master (GLOMAS) studies. It consists of two parts: written work and a concert called Kaikkien kansojen murhe - All the People's Sorrow, which was held on 2nd of May 2013 in Helsinki. In the beginning of the written work I introduce the history of the laments and the research of them. Laments are a global phenomenon that can be found all over the world among very different kind of cultures. Already ancient Greeks knew laments. Laments were sung in the parting situations and also in the most important rites of human life like marriage and death. In the Balto-Finnic area there were also laments of conscript and occasional laments. In my work I have concentrated in the Karelian and Ingrian traditions. The language in them is special and the melody and the rhythm vary all the time because of the free meter of the lyrics. I did not find it always easy to make music of a tradition that has faded. I searched for theories of recovering an old tradition. In the 1960`s the ethnologists defined to term folklorism to describe tradition that was modified for new purposes. Folklorism was seen among the ethnologists as a threat to the real folklore. In 1990 researcher Lauri Honko developed the theory of folklore process. Honko sees that the folklore is always in a process and he divides it in 22 parts. The first 12 parts are part of the first life of folklore and the rest 10 parts are part of the second life of folklore. This theory sees all the parts of the process equal. Anna-Liisa Tenhunen created for her doctoral study also a third life of folklore, and used it in particular with laments. One part of the written work is to describe my own process with the concert Kaikkien kansojen murhe - All the People`s Sorrow. I tell about my repertoire and how I worked with it. I did not grow up in the environment were laments would have existed so I needed to learn a new culture. In the concert I wanted to approach the laments from different sides: some of them I learned from archive recordings, I composed melody to a lament text, I wrote my own lament and I also improvised laments. Beside Karelia and Ingria I also prepared material from Finland, Persia, Kosovo, Estonia and Russia. I had a group of ten musicians who helped me with the concert. I found a new way to express myself as a musician and also had an experience of a concert that touched both the audience and the performers. In the end of the work I summarize what I have learned and look to the future.