https://trio.journal.fi/issue/feed Trio 2021-07-10T16:07:24+03:00 Ulla Pohjannoro ulla.pohjannoro@uniarts.fi Open Journal Systems <p>Trio on klassisen musiikin esittämiseen ja pedagogiikkaan, esityskäytäntöjen, niiden estetiikan ja historian sekä nykyhetken haasteiden tutkimukseen keskittyvä vertaisarvioitu julkaisu, jossa on sijaa myös klassisen musiikin historiaan, filosofiaan ja teosanalyysiin keskittyville kirjoituksille.</p> <p>Trio ilmestyy kahdesti vuodessa Taideyliopiston Sibelius-Akatemian Klassisen musiikin osaston julkaisemana, ja sillä on TSV:n vertaisarviointitunnus. Käsikirjoituksia voi lähettää ympäri vuoden ja yhden vertaisarviointikierroksen läpikäyvien artikkeleiden deadlinet ovat juhannuksen ja itsenäisyyspäivän tienoilla. Artikkelin lähettäminen määräpäivään mennessä ei kuitenkaan takaa julkaisemista juuri kyseisessä lehdessä.</p> <p>Vanhemmat numerot vuosilta 2012–18 (Vol. 1–8) ovat luettavissa <a href="https://taju.uniarts.fi/browse?type=seriesandjournals&amp;value=Trio%20 ">Taju-julkaisuarkistossa</a> ja <a href="https://issuu.com/sibelius-akatemia" target="_blank" rel="noopener">Issuu-julkaisualustalla</a>.</p> https://trio.journal.fi/article/view/110135 Helppojen ajatusten takaa 2021-07-09T13:31:11+03:00 Ulla Pohjannoro ulla.pohjannoro@uniarts.fi <p>Lukijalle.</p> 2021-07-10T00:00:00+03:00 Copyright (c) 2021 Ulla Pohjannoro https://trio.journal.fi/article/view/110126 Den kvinnliga sopranen i barockrepertoaren 2021-07-09T12:15:56+03:00 Kajsa Dahlbäck kajsa@dahlback.fi <p>The artistic doctoral project of soprano Kajsa Dahlbäck is in two parts. The theme of the concert series is “The female soprano within the baroque repertoire 1600–1750” and that of the thesis is “Singing-in-the-world – a phenomenological study on the singer’s inner work”. In her concerts, Dahlbäck has performed music from different parts of Europe and particularly from communities with female singers, such as for instance Italian nun convents, Vivaldi’s time at La Pietà in Venice and the court of Swedish Queen Christina in Stockholm and Rome. In her thesis, Dahlbäck shares insights from her experience as a singer specializing in early music as well as the genre’s generally intimate concert and rehearsal atmosphere. Experience texts from rehearsals and concerts have been mirrored against phenomenological theories. The practice-based triadic concept of body–breath– mind is linked to the theoretical singing-in-the-world. Body–breath–mind is the foundation for singing-in-the-world, a synthesis of the phenomenological tradition of Heidegger’s being- in-the-world (in-der-Welt-sein), Merleau-Ponty’s being toward-the-world (suis à) and in recent years Škof and Berndtson’s breathing-in-the-world.</p> 2021-07-10T00:00:00+03:00 Copyright (c) 2021 Kajsa Dahlbäck https://trio.journal.fi/article/view/110127 Yksi identiteetti monesta peilistä – kanttorin ammatillisen identiteetin ytimessä 2021-07-09T12:39:18+03:00 Anna Helenius anna.m.helenius@evl.fi <p>This doctoral thesis focuses on cantors’ professional identity. The study material was collected from ten cantors in Finland. Findings include the following themes: lengthy study, high levels of study effort, love for music, critical attitude towards mastery of the profession, fragmentariness of work, ambiguity of boundaries between work and leisure, the idea of working as a lifestyle, striving for high quality and the experience of spirituality as an essential part of work.</p> 2021-07-10T00:00:00+03:00 Copyright (c) 2021 Anna Helenius https://trio.journal.fi/article/view/110128 In search for hidden repertoire gems: A performer´s approach to Russian and Soviet clarinet music 2021-07-09T12:52:08+03:00 Anne Elisabeth Piirainen anne.piirainen@uniarts.fi <p>In her doctoral research, Anne Elisabeth Piirainen sheds light on a little known aspect of the clarinet repertoire – clarinet music from Russia and the former Soviet Union. This performance-based research gives insight into a large variety of very valuable yet quite forgotten compositions with a special focus on clarinet works with Jewish themes. The thesis is published as a website and includes an extensive clarinet composition database that aims to close the research gap on this topic.</p> 2021-07-10T00:00:00+03:00 Copyright (c) 2021 Anne Elisabeth Piirainen https://trio.journal.fi/article/view/110129 Agogiikka ja rekisteröiminen esittäjän keinovaroina saksalaisessa urkumusiikissa 2021-07-09T13:06:14+03:00 Olli Pyylampi olli.pyylampi@evl.fi <p>The subject of my doctoral studies is the use of agogics in German organ music between the 17th and the 19th century. The repertoire of my five concerts proceeded chronologically in order to demonstrate the evolution of agogics. In my written thesis, I investigate my methods of choosing stops when performing German romantic music.</p> 2021-07-10T00:00:00+03:00 Copyright (c) 2021 Olli Pyylampi https://trio.journal.fi/article/view/110132 ”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija 2021-07-09T13:15:55+03:00 Hanna Remes hanna.remes@evl.fi <p>Hanna Remes’s artistic doctoral degree, which focuses on choral church music in worship, is the first of its kind in Finland. The demonstration of proficiency carried out 2016–2020 comprises two masses, a worship service, a passion drama and an Easter concert. She elucidates changes in guidelines for the liturgical use of the choir according to the Evangelical Lutheran Church of Finland’s 2000 church manual from those of the 1968 church manual. The dissertation stands at the junction of liturgy and the history of church music. Remes compares and analyses the liturgical role of the choir in the Church of Finland as stated in the latest church manuals and supplementary materials and explains the guiding principles of the manuals’ preparation.</p> 2021-07-10T00:00:00+03:00 Copyright (c) 2021 Hanna Remes https://trio.journal.fi/article/view/110033 Kohti kriittistä editiota. Musiikkifilologinen analyysi Leevi Madetojan ensimmäisen sinfonian käsikirjoituslähteistä 2021-07-06T16:10:18+03:00 Sasha Mäkilä sasha.makila@uniarts.fi <p>Leevi Madetoja’s (1887–1947) first symphony in F major, opus 29 (1916) was not printed during the composer’s lifetime. All performances of the work until the 1980s were played from handwritten orchestra parts. The printed score by Fazer from 1984 is riddled with numerous omissions, wrong pitches and mistakes in articulation and dynamics, and it seems to be a hybrid of the composer’s two manuscripts from 1916 and 1943 by an unknown editor. By today’s standards, the result is questionable, considering that the manuscripts were separated by 27 years. This article takes a look at the manuscript sources of Madetoja’s first symphony and is part of a larger project producing critical editions of Madetoja’s orchestral works. My research question is, what are the manuscript sources of Madetoja’s first symphony, and how are they related? I describe the autographs and handwritten orchestra parts and locate them in the source chain using genealogical reasoning and biographical information. I point out which orchestra materials and autographs are connected and highlight essential differences between the manuscripts from the point of view of the critical edition. Finally, I consider which of the autographs would be best suited as the principal source of the new critical edition.</p> 2021-07-10T00:00:00+03:00 Copyright (c) 2021 Sasha Mäkilä https://trio.journal.fi/article/view/110125 “Leading” as a mode of interaction and communication in contemporary music performance-practice 2021-07-09T12:00:11+03:00 Maria Puusaari maria.puusaari@uniarts.fi <p>In this paper, I discuss “leading” in the performance-practice of contemporary music. First, I take a brief view on the development of music from the second half of the 20th century until today to highlight some of the challenges of leading the contemporary music repertoire. I survey existing research on interaction, communication and leadership in ensemble playing and use this viewpoint to briefly explore aspects of leadership and other roles in playing in a contemporary chamber ensemble without a conductor. Finally, I describe my own practice of leading as a violinist through three case studies in the contemporary music repertoire. Based on Leman’s theory of expressive alignment and enactment processes (2016), I approach leading as a multimodal, crossmodal and multidirectional interactive process. I divide leading into temporal and expressive leading techniques that are used to communicate different temporal and expressive musical features. I argue that leading techniques must be practiced and embedded in body language as separate, instrument-specific playing techniques. In addition to leading techniques, I provide temporal, sensorimotor, acoustical, instrument-specific and socio-cultural aspects that affect leading practices.</p> 2021-07-10T00:00:00+03:00 Copyright (c) 2021 Maria Puusaari