Trio
type: channel
description: Trio on musiikin taiteellieen tutkimukseen, esittämiseen ja pedagogiikkaan, esityskäytäntöjen, niiden estetiikan ja historian sekä nykyhetken haasteiden tutkimukseen keskittyvä vertaisarvioitu julkaisu, jossa on sijaa myös muulle musiikintutkimukselle, esimerkiksi musiikin historiaan, filosofiaan ja analyysiin liittyville aiheille. Trio ilmestyy kahdesti vuodessa, ja lehti on saanut Tieteellisten seurain valtuuskunnan (TSV) myöntämän Vertaisarvioitu-tunnuksen ja sitoutunut sen ohjeiden mukaiseen eettiseen toimintaan artikkeleiden vertaisarvioinnissa. Käsikirjoituksia voi lähettää ympäri vuoden. Vanhemmat numerot vuosilta 2012–18 (Vol. 1–8) ovat luettavissa Taju-julkaisuarkistossa.
publisher: Sibelius Academy, University of the Arts Helsinki
language: fi
publication name: Trio
issn: 2242-6418
items: Laulajan toimijuus muutosvoimana
items: Filosofisia, historiallisia ja taiteellisia näkökulmia virittämiseen
items: English abstracts
items: Sibelius in the making: Ida Ekman and the formation of Finnish Lied culture
items: Laajenevia renkaita taiteen ja tutkimuksen lammikoissa
items: The score as catalyst: curating collaboration in Pauline Oliveros’ Thirteen Changes
items: The structure of thought. On the writings of György Ligeti
items: Aspects of melodic and rhythmical textures in György Ligeti’s micro and macro polyphony
items: In the penprints of György Ligeti in Basle – Historical Aspects on Performance Notes in Piano Etudes 1–6
items: György Ligeti and organ music – traditional reformer or revolutionary discoverer? Ligeti’s organ music and its influence to the playing technique of organ
items: Aspects of pitch organization in György Ligeti's Piano etude no. 8, Fém
items: Report from the symposium “Transforming musicianship: Understanding 19th-century historical style and its implications for learning”, Sibelius Academy, Helsinki, 12 November 2018.
items: An efficient panorama of doctoral research at the Sibelius Academy, Helsinki, 18–19 March 2019
items: Editorial
items: And now I'm here as his son: remembering György Ligeti as a person, a composer, and a father
items: Helppojen ajatusten takaa
items: ”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija
items: Agogiikka ja rekisteröiminen esittäjän keinovaroina saksalaisessa urkumusiikissa
items: In search for hidden repertoire gems: A performer´s approach to Russian and Soviet clarinet music
items: Yksi identiteetti monesta peilistä – kanttorin ammatillisen identiteetin ytimessä
items: Den kvinnliga sopranen i barockrepertoaren
items: “Leading” as a mode of interaction and communication in contemporary music performance-practice
items: Kohti kriittistä editiota. Musiikkifilologinen analyysi Leevi Madetojan ensimmäisen sinfonian käsikirjoituslähteistä
items: The Challengers of public cultural centres
items: Lukijalle
items: Välineiden välissä.
items: Approaching Robert Kajanus´ three last works for violin
items: Shaping identities in choir competitions in Tanzania
items: Miten tullaan kyborgiksi ja meedioksi? Esittävien taiteiden opettamisesta
items: Ekspressiosta ja taiteen ekspressioteoriasta

Laulajan toimijuus muutosvoimana
type: item
description: Taiteellisessa väitöstutkimuksessani etsin musiikin esittämisen traditiosta poikkeavia naissukupuolen esityksiä laulukonsertoinnin kontekstissa. Tutkimuksen otsikko oli "Laulajuutta laajentamassa – taiteellinen tutkimus laulukonsertoinnin performansseista". Tutkimus koostui neljästä konsertista, kahdesta vertaisarvioidusta artikkelista sekä yhteenvedosta. Tutkimus sijoittuu lauluntutkimuksen kentälle ja tuo laulajan ääntä lied-tutkimukseen. Sen tulokset ovat taiteellisia ja analyyttisiä tutkimusmenetelmiä sekä Minna Leinosen säveltämä monodraama Rakkaat (2024) Milka Luhtaniemen tekstiin.
subject: Lektiot
  topic: section
subject: lauluntutkimus
  topic: keywords
subject: lied-tutkimus
  topic: keywords
subject: taiteellinen tutkimus
  topic: keywords
subject: Musiikintutkimus
  topic: disciplines
creator: Hanna Chorell
rights: Copyright (c) 2026 Hanna Chorell
date: 2026-06-17
publication date: 2026-06-17
starting page: 81
ending page: 92
doi: 10.37453/tj.179173

Filosofisia, historiallisia ja taiteellisia näkökulmia virittämiseen
type: item
description: Virittäminen ja siihen liittyvien valintojen tekeminen on elimellinen osa musisointitapahtumaa. Haluan työni kautta uudistaa ja edistää virittämisestä puhumista ja moninaistaa erilaisten viritysratkaisujen käyttämistä taiteellisen ilmaisutahdon värittäjinä, selkeyttäjinä ja vahvistajina. Määrittelen viritysfilosofian käsitteen, joka nivoo yhteen erilaisia virittämiseen liittyviä kysymyksiä ja vastauksia. Samalla käsittelen myös muun muassa intonaation käsitettä. Olen tullut taiteellisen työni kautta siihen tulokseen, että viritysfilosofian historiassa on tapahtunut neljä vallankumousta. Nämä vallankumoukset ovat jatkotutkintoprojektini lähtökohta ja taiteellinen perusta. Tarkastelen työssäni eri aikoina ja eri tarkoituksiin käytettyjen virittämiseen liittyvien seikkojen vaikutusta erilaisiin musiikillisiin tilanteisiin. Ensisijainen lähtökohtani on oma taiteellinen tietoni ja kokemukseni muusikkona ja erityisesti vanhan musiikin alan kosketinsoittajana.
subject: Lektiot
  topic: section
subject: virittäminen
  topic: keywords
subject: viritysjärjestelmät
  topic: keywords
subject: viritysfilosofia
  topic: keywords
subject: taiteellinen tutkimus
  topic: keywords
subject: kosketinsoittimet
  topic: keywords
subject: vanha musiikki
  topic: keywords
subject: mikrotonaalisuus
  topic: keywords
subject: luonnonpuhtaus
  topic: keywords
subject: taiteellinen tutkimus
  topic: disciplines
subject: DocMus
  topic: disciplines
creator: Matias Häkkinen
rights: Copyright (c) 2026 Matias Häkkinen
date: 2026-06-17
publication date: 2026-06-17
starting page: 73
ending page: 80
doi: 10.37453/tj.179712

English abstracts
type: item
description: Abstracts in English
subject: English abstracts
  topic: section
subject: abstracts
  topic: keywords
subject: music research
  topic: disciplines
rights: Copyright (c) 2026
date: 2026-06-17
publication date: 2026-06-17
starting page: 93
ending page: 95

Sibelius in the making: Ida Ekman and the formation of Finnish Lied culture
type: item
description: Sibelius tekeillä: Ida Ekman ja suomalaisen lied-kulttuurin muodostuminen Jean Sibelius nousi kansalliseksi merkkihahmoksi aikana, jolloin musiikki levisi ennen kaikkea elävän esitystoiminnan kautta. Ennen radion ja äänilevytysten läpimurtoa lied-konsertit olivat keskeinen väylä, jonka kautta yleisöt tutustuivat uuteen repertuaariin. Artikkeli tarkastelee, miten Sibeliuksen laulut vakiintuivat osaksi suomalaista musiikkikulttuuria sopraano Ida Ekmanin ja pianisti Karl Ekmanin konserttitoiminnan kautta. Yli 180 kotimaisen konsertin, 553 laulun ja noin sadan säveltäjän systemaattisesti rekonstruoitu aineisto, ohjelma-analyysi ja aikalaisvastaanotto osoittavat, kuinka Ekmanien laaja kiertuetoiminta, jäsentynyt konserttimalli ja johdonmukainen ohjelmistostrategia edistivät Sibeliuksen laulujen leviämistä ja vakiintumista. Heidän toimintansa ei ainoastaan juurruttanut lied-resitaalia suomalaisen konserttielämän instituutioksi, vaan rakensi toiminnallista kaanonia, jossa toistuvat esitykset, ohjelmointi ja yleisösuhteiden rakentuminen muovasivat kansallista repertuaaria. Siirtämällä huomion säveltäjäkeskeisestä tarkastelusta esittäjiin kulttuurisina välittäjinä tutkimus osoittaa, että Sibeliuksen asema kansallissäveltäjänä rakentui sävellysten ohella esitysinfrastruktuurien, taiteellisen yrittäjyyden ja pitkäjänteisen konserttilevityksen kautta.
subject: Artikkelit, ei vertaisarviointia
  topic: section
subject: Jean Sibelius
  topic: keywords
subject: Ida Ekman
  topic: keywords
subject: Ida Morduch
  topic: keywords
subject: suomalainen lied-kulttuuri
  topic: keywords
subject: lied
  topic: keywords
subject: kaanon
  topic: keywords
subject: esittävän taiteen historia
  topic: keywords
subject: Musiikin esittäminen
  topic: disciplines
subject: musiikin historia
  topic: disciplines
subject: musiikin kulttuurihistoria
  topic: disciplines
subject: henkilöhistoria
  topic: disciplines
creator: Samuli Skurnik
creator: Jonathan Morduch
rights: Copyright (c) 2026 Samuli Skurnik, Jonathan Morduch
date: 2026-06-17
publication date: 2026-06-17
starting page: 32
ending page: 72
doi: 10.37453/tj.180124

Laajenevia renkaita taiteen ja tutkimuksen lammikoissa
type: item
description: Pääkirjoitus
subject: Pääkirjoitus
  topic: section
subject: pääkirjoitus
  topic: keywords
subject: Musiiikintutkimus
  topic: disciplines
subject: taiteellinen tutkimus
  topic: disciplines
creator: Laura Wahlfors
rights: Copyright (c) 2026 Laura Wahlfors
date: 2026-06-17
publication date: 2026-06-17
starting page: 4
ending page: 7

The score as catalyst: curating collaboration in Pauline Oliveros’ Thirteen Changes
type: item
description: This article investigates how a verbal notation score, Pauline Oliveros’ Thirteen Changes (1986), can facilitate creativity, collaboration, and intercultural dialogue in contemporary art music. The study explores how everyday language, used as notation, can open inclusive and interdisciplinary spaces. Based on a practice-led case study involving seven improvisers from diverse musical and cultural backgrounds, it examines three interconnected themes: the accessibility of everyday language, the inherent indeterminacy of verbal notation, and the score as a mirror of group dynamics. Through the processes of rehearsal and performance, it reveals how translation, identity, facilitation, and intercultural exchange influence the ways verbal notation mediates between personal imagination and collective artistic creation. The findings highlight that text scores function not only as creative frameworks but also as reflective tools that expose underlying group structures, power dynamics, and cultural expectations. They further support the argument that verbal notation calls for an active commitment from performers, transforming them into performer-creators and fostering shared musical authorship alongside the coexistence of multiple narratives. At the same time, they underscore the crucial role of context, highlighting how the curator and/or facilitator shape the ways in which such scores are perceived and enacted.
subject: Vertaisarvioidut artikkelit
  topic: section
subject: verbal notation
  topic: keywords
subject: Pauline Oliveros
  topic: keywords
subject: curation
  topic: keywords
subject: intercultural context
  topic: keywords
subject: artistic research in music
  topic: disciplines
subject: music
  topic: disciplines
subject: Contemporary music
  topic: disciplines
subject: research in music
  topic: disciplines
subject: intercultural collaborations
  topic: disciplines
creator: Livia Schweizer
rights: Copyright (c) 2026 Livia Schweizer
date: 2026-06-17
publication date: 2026-06-17
starting page: 8
ending page: 31
doi: 10.37453/tj.180362

The structure of thought. On the writings of György Ligeti
type: item
description: The aim of this text is to identify and characterise the key thematic areas in Ligeti’s writings, and to demonstrate their role in the shaping and expanding of our picture of the composer and his works. The analysis concentrates largely on the writings which may appear far removed from Ligeti’s compositions and his compositional techniques. These writings include reminiscences, articles devoted to other composers, and reflections on the status of music. They present a number of issues which are significant in relation to all of Ligeti’s works. The first issue concerns the status of the composer, whose attitude and activities are suggestive of those of a scholar. They reveal Ligeti’s fascination with science, and his belief in the autonomy of music. Another important thread is the historical placing of Ligeti’s work. When discussing the works of others the composer seems to be very aware of the influences to which he was subject himself. A privileged position is given in Ligeti’s writings to his direct historical predecessors, such as Béla Bartók or Anton Webern, but also to Claude Debussy, Gustav Mahler, Charles Ives or Igor Stravinsky. The third element of significance are the references to autobiographical themes, which go far beyond being anecdotal. On the whole they correspond perfectly to the image of Ligeti’s compositions and later inspirations. Recalling images from childhood also affects the composer’s special way of describing music. Usually it is grounded in the inaccessible, difficult to capture sphere of memory or imagination, yet at the same time it is always music being heard, taking place in time. This special, metaphorised way of describing music defines the fourth thematic area. The composer most often uses visual and spatial metaphors, especially the metaphor of labyrinth, fabric, web, surface or mirror image. Ligeti finds a special, “personal” justification for his metaphors in the form of synaesthesia. The metaphors are also strikingly multifunct…
subject: Vertaisarvioidut artikkelit
  topic: section
creator: Ewa Schreiber
rights: Copyright (c) 2019 Ewa Schreiber
date: 2020-01-24
publication date: 2020-01-24
starting page: 18
ending page: 43

Aspects of melodic and rhythmical textures in György Ligeti’s micro and macro polyphony
type: item
description: The subject of this article falls within my previous musicological research on contemporary era and is focused on the exploration of the methods which György Ligeti applied on a number of his chamber, orchestral and solo works, to generate various, previously unheard, interactive textures. Although Ligeti’s aesthetic trajectory is differentiated from his contemporaries “pure” sonoristic composers (Penderecki, Lachenmann, Sciarrino and others), his polyphonically constructed textures often create diversiform sonoristic environments, based more on melodic and rhythmic material and less on timbral extension for each particular musical instrument. In addition to Ligeti’s orchestral masterpieces, the works Ramifications (1968–69), Chamber Concerto (1969–70), Melodien (1971), and Piano Etudes No. 3 and No. 4 from the first book (1985) are some representative examples of the above aesthetic direction. Through analysis of particular extracts from the above-mentioned works, this paper will attempt to demonstrate a number of applied compositional principles, in order to explore both the micro- and macro-structure of “Ligetian” micropolyphonic textures. In addition, innovative, sophisticated techniques, such as the blocked keys in Etude No. 3 and the repetition of pitches combined with sfz-p subito dynamics in the Chamber Concerto’s second movement, have been proved to be strong tools in the attempt to achieve rhythmical complexity, characterised by ultimate levels of rhythmic accuracy. Various pitch (or pitch-class) sets and intervallic ratios are often used as starting points for the generation of multi-layer canonic textures and imitative passages. Both the horizontal (melodic) and the vertical (harmonic) organisation of the pitch material form structures of linear sonic events, which in turn consist of multiple interactive, polyrhythmic gestures. Ligeti’s distinguishable polyrhythmical, sonoristic, effect often occurs from several types of linear and non-linear arithmetic …
subject: Vertaisarvioidut artikkelit
  topic: section
creator: Manos Panayiotakis
rights: Copyright (c) 0
date: 2019-12-20
publication date: 2019-12-20
starting page: 62
ending page: 76

In the penprints of György Ligeti in Basle – Historical Aspects on Performance Notes in Piano Etudes 1–6
type: item
description: The article is a discussion on tempo markings and performance notes in the first volume of the piano études by György Ligeti. It draws attention to certain differences between the manuscript, the preliminary facsimile editions and the final edition by Schott. It also highlights various post-publication corrections, comments and notes written by Ligeti on the sheet music in his possession. According to the sources, Ligeti changed his mind about the tempo several times and attached great importance to the nuances in the written performance notes. It remains open whether he had intended more corrections and comments to be published than are seen nowadays in the available editions. The information is based on unpublished material and archive sources at the Paul Sacher Foundation in Basle.
subject: Vertaisarvioidut artikkelit
  topic: section
creator: Elisa Järvi
rights: Copyright (c) 2019 Elisa Järvi
date: 2019-12-20
publication date: 2019-12-20
starting page: 78
ending page: 94

György Ligeti and organ music – traditional reformer or revolutionary discoverer? Ligeti’s organ music and its influence to the playing technique of organ
type: item
description: The article draws a picture of György Ligeti as an organ composer and it shows the means, which he came up with to produce a new kind of sound on an old, traditional instrument. The aim here is to talk about the relationship between tradition and reformation in terms of playing techniques in Ligeti’s organ music. Because Ligeti didn’t have much experience with traditional organ playing techniques, as far as articulation in all its dimensions goes, with different approaches through historical performance practice, he could begin his work from a clean table. However, he did use all manner of touch, developed new playing skills and invented new ways of registration, which gave his music new wonderful colours and timbres. Ligeti composed three different pieces for organ: an early Ricercare, the massive Volumina and two spectacular études. The article will focus here merely on the last two: the Volumina and the Zwei Etüden. They are both revolutionary in a way because they don’t respect tradition. They are also exceptional compositions, because they are both analogous with either orchestra or instrumental pieces, which Ligeti was writing at the same time. Furthermore, they both need professional organ registrants. The registrant actually has a more important role in the performance than the organist him or herself. If we don’t count his early piece, Ricercare, he was quite revolutionary. In Volumina there is not even a single note, which should be played in a normal way, but Ligeti’s organ playing in it is for instance the use of palms of the hands in gliding across keys and the manuals. By using graphic notation he could best achieve freedom for the player, and the result of the integration of a new playing technique with a new kind of notation made the organ like a timbre-machine. The practice of registration also found a new level in the inventions of Ligeti. György Ligeti’s heritage in organ composition is enormous. After the massive revolution of Volumina and Zwei E…
subject: Vertaisarvioidut artikkelit
  topic: section
creator: Jan Lehtola
rights: Copyright (c) 0
date: 2019-12-20
publication date: 2019-12-20
starting page: 95
ending page: 110

Aspects of pitch organization in György Ligeti's Piano etude no. 8, Fém
type: item
description: György Ligeti’s Piano Étude No. 8, Fém, is governed by two simultaneous and continuously repeated rhythmic patterns, one of which is for the right hand, the other for the left one. The patterns evoke the medieval concept of Talea, a constant configuration of durations whose repetitions introduce a recognizable element to the piece it is used in. The two Fém taleae are of different lengths, meaning that their starting points coincide only after several cycles. As far as pitch organisation is concerned, Fém contains an element that is as dominant as the Talea patterns are in the realm of rhythm, namely, parallel fifths. It is the purpose of this study to examine how the fifths, and harmonic materials derived from them, govern the pitch organisation of the piece. It is suggested that the fifths form two distinct “harmonic families”. The first one contains collections of notes where the elements can be arranged so that there is a perfect fifth between all pairs of consecutive elements. "Family members" can contain from 2 to 12 elements. The second family contains collections of notes where the elements can be arranged so that in the succession of intervals between pairs of consecutive notes, tritones and fifths alternate. Family members can contain from 3 to 12 elements. Furthermore, the ordering and registral positioning of the elements is free: the family membership of the collection is preserved even if the elements are not in a "pure" interval stack order – the collections are not defined to be chords or other pitch-space objects, but pitch-class sets. It is then examined how the two harmonic families can be utilised in articulating elements of the pitch organization. Among the viewpoints are the relations between the Taleae and the harmonic families, the transpositional relations between family members in controlling the level of dissonance, harmonic-family saturation, completion strategies of incomplete family members, and simultaneous linear instances of family m…
subject: Vertaisarvioidut artikkelit
  topic: section
creator: Marcus Castrén
rights: Copyright (c) 0
date: 2019-12-20
publication date: 2019-12-20
starting page: 44
ending page: 61

Report from the symposium “Transforming musicianship: Understanding 19th-century historical style and its implications for learning”, Sibelius Academy, Helsinki, 12 November 2018.
type: item
description: The orchestral and chamber music of the 19th Century includes some of the most widely performed and well known pieces of classical music, and yet most professional performances of this repertoire have been relatively uninformed by what is known about actual 19th Century historical style. Thus, this symposium offered research-based insights on the technical and performative aesthetics of this repertoire, by bridging the widely-recognised gap between period and modern instrumentalists and scholarship through spoken presentations and demonstrations on historical instruments.
subject: Raportit
  topic: section
creator: GUADALUPE LÓPEZ-ÍÑIGUEZ
rights: Copyright (c) 0
date: 2019-12-20
publication date: 2019-12-20
starting page: 111
ending page: 116

An efficient panorama of doctoral research at the Sibelius Academy, Helsinki, 18–19 March 2019
type: item
description: This is a review of the fourth annual exhibition of the Sibelius Academy Research Days, held in March 2019 and organized by the students of both the two artistic and research doctoral schools of the academy. A welcoming atmosphere laid the foundation for a two day panorama of presentations of research projects across a wide spectrum of topics given by the artistic and scientific groups of doctoral students in a variety of formats, from concise spotlights to extended demonstration lectures. Other presentations included a faculty keynote address and a panel on internationalization and career coaching.
subject: Raportit
  topic: section
creator: Juha Ojala
rights: Copyright (c) 0
date: 2019-12-20
publication date: 2019-12-20
starting page: 115
ending page: 120

Editorial
type: item
description: The writings in this issue include five peer-reviewed articles based on the lectures given at the György Ligeti Symposium Helsinki 2017, a transcription of the Keynote Speech by Lukas Ligeti and two reports of Doctoral School events at the Sibelius Academy.
subject: Pääkirjoitus
  topic: section
creator: Markus Kuikka
creator: Elisa Järvi
rights: Copyright (c) 0
date: 2019-12-20
publication date: 2019-12-20
starting page: 4
ending page: 5

And now I'm here as his son: remembering György Ligeti as a person, a composer, and a father
type: item
description: The Flame in my Hands I am a composer and improvisor with an unusual background: my father was György Ligeti. My last name, while only six letters long, tends to lead people to a complicated multitude of preconceived notions and assumptions about my upbringing, advantages, challenges, and even about what my music might actually sound like. These assumptions are almost invariably false. I am not a music theorist or historian and do not intend to give a musicological analysis of my father’s work. But I can illuminate his thinking and interests from the perspective of someone who knew him in a way no musicologist did, and try to trace the experiences and events that triggered some of his unique thoughts and ideas. I will also elaborate on what I hope to have learned from my father, how he has influenced me, and how our interests as musicians are similar and how they differ. I am an independent artist, not a “professional son”. Nonetheless, apart from creating my own music, it is important to me that my father’s work continues to be appreciated and that it is understood and contextualised in ways he wanted it to be. That sometimes makes me ask myself what my father would do were he alive and active today. The hypothetical, extrapolative answers I arrive at are not necessarily identical with my own views, and once again, I will try to explain how I see these similarities and differences and in what ways they are cultural, generational, etc. My father was always a passionate defender of freedom, democracy, and individual creativity. This is one aspect of his legacy I am committed to cultivating and carrying on in my own work. I will share some of my ideas for how music might move forward and what artistic and other challenges lie ahead for me personally, and for new music in general.
subject: Artikkelit, ei vertaisarviointia
  topic: section
creator: Lukas Ligeti
rights: Copyright (c) 2019 Lukas Ligeti
date: 2019-12-20
publication date: 2019-12-20
starting page: 6
ending page: 17

Helppojen ajatusten takaa
type: item
description: Lukijalle.
subject: Pääkirjoitus
  topic: section
subject: Musiikki.
  topic: keywords
subject: musiikintutkimus
  topic: keywords
subject: tutkimus
  topic: keywords
subject: Musiikintutkimus.
  topic: disciplines
creator: Ulla Pohjannoro
rights: Copyright (c) 2021 Ulla Pohjannoro
date: 2021-07-10
publication date: 2021-07-10
starting page: 5
ending page: 8
doi: 10.37453/trio.110135

”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija
type: item
description: 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.
subject: Lektiot
  topic: section
subject: Evankelisluterilainen kirkko
  topic: keywords
subject: jumalanpalvelus
  topic: keywords
subject: kirkkomusiikki
  topic: keywords
subject: liturginen musiikki
  topic: keywords
subject: liturgia
  topic: keywords
subject: Musiikintutkimus
  topic: disciplines
creator: Hanna Remes
rights: Copyright (c) 2021 Hanna Remes
date: 2021-07-10
publication date: 2021-07-10
starting page: 91
ending page: 100
doi: 10.37453/trio.110132

Agogiikka ja rekisteröiminen esittäjän keinovaroina saksalaisessa urkumusiikissa
type: item
description: 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.
subject: Lektiot
  topic: section
subject: agogiikka
  topic: keywords
subject: rekisteröinti
  topic: keywords
subject: Saksa
  topic: keywords
subject: urkumusiikki
  topic: keywords
subject: Musiikintutkimus
  topic: disciplines
creator: Olli Pyylampi
rights: Copyright (c) 2021 Olli Pyylampi
date: 2021-07-10
publication date: 2021-07-10
starting page: 86
ending page: 90
doi: 10.37453/trio.110129

In search for hidden repertoire gems: A performer´s approach to Russian and Soviet clarinet music
type: item
description: 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.
subject: Lektiot
  topic: section
subject: Juutalainen musiikki
  topic: keywords
subject: kamarimusiikki
  topic: keywords
subject: klarinetti
  topic: keywords
subject: Neuvostoliitto
  topic: keywords
subject: taiteellinen tutkimus
  topic: keywords
subject: Venäjä
  topic: keywords
subject: Musiikintutkimus.
  topic: disciplines
creator: Anne Elisabeth Piirainen
rights: Copyright (c) 2021 Anne Elisabeth Piirainen
date: 2021-07-10
publication date: 2021-07-10
starting page: 79
ending page: 85
doi: 10.37453/trio.110128

Yksi identiteetti monesta peilistä – kanttorin ammatillisen identiteetin ytimessä
type: item
description: 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.
subject: Lektiot
  topic: section
subject: ammatillinen identiteetti
  topic: keywords
subject: haastattelututkimus
  topic: keywords
subject: kanttori
  topic: keywords
subject: Musiikintutkimus.
  topic: disciplines
creator: Anna Helenius
rights: Copyright (c) 2021 Anna Helenius
date: 2021-07-10
publication date: 2021-07-10
starting page: 74
ending page: 78
doi: 10.37453/trio.110127

Den kvinnliga sopranen i barockrepertoaren
type: item
description: 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.
subject: Lektiot
  topic: section
subject: barokkilaulu
  topic: keywords
subject: barokkimusiikki
  topic: keywords
subject: fenomenologia
  topic: keywords
subject: naissäveltäjät
  topic: keywords
subject: Musiikintutkimus
  topic: disciplines
creator: Kajsa Dahlbäck
rights: Copyright (c) 2021 Kajsa Dahlbäck
date: 2021-07-10
publication date: 2021-07-10
starting page: 65
ending page: 73
doi: 10.37453/trio.110126

“Leading” as a mode of interaction and communication in contemporary music performance-practice
type: item
description: 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.
subject: Vertaisarvioidut artikkelit
  topic: section
subject: eleet
  topic: keywords
subject: johtaminen
  topic: keywords
subject: kamarimusiikki
  topic: keywords
subject: kommunikaatio
  topic: keywords
subject: nykymusiikki
  topic: keywords
subject: Musiikkitiede
  topic: disciplines
subject: musiikin tutkimus
  topic: disciplines
subject: taiteellinen tutkimus
  topic: disciplines
creator: Maria Puusaari
rights: Copyright (c) 2021 Maria Puusaari
date: 2021-07-10
publication date: 2021-07-10
starting page: 40
ending page: 64
doi: 10.37453/trio.110125

Kohti kriittistä editiota. Musiikkifilologinen analyysi Leevi Madetojan ensimmäisen sinfonian käsikirjoituslähteistä
type: item
description: 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.
subject: Vertaisarvioidut artikkelit
  topic: section
subject: autografia
  topic: keywords
subject: editiotutkimus
  topic: keywords
subject: Leevi Madetoja
  topic: keywords
subject: käsikirjoitukset
  topic: keywords
subject: musiikin filologia
  topic: keywords
subject: musiikkitiede
  topic: disciplines
subject: editiotutkimus
  topic: disciplines
creator: Sasha Mäkilä
rights: Copyright (c) 2021 Sasha Mäkilä
date: 2021-07-10
publication date: 2021-07-10
starting page: 9
ending page: 39
doi: 10.37453/trio.v10i1.110033

The Challengers of public cultural centres
type: item
description: Institutional theory has undergone major development in recent decades, while resource dependence theory has remained essentially unchanged since its inception in 1978. This study examines the associations of these two theories as well as organisational performance in the context of cultural centres in Finland. Few studies have attempted to empirically determine the effects of resource scarcity on institutional pressures. In addition to the novelty of combining these two theories, this thesis addresses this gap in the literature by empirically examining how and why resource dependence influences organisations’ strategic responses. Using a mixed methods approach, this research involved in-depth semi-structured interviews and then surveys in a later stage. A total of 20 interviews was conducted at four private cultural centres in Finland, while quantitative data (i.e. surveys) were gathered from 106 cultural centres. Thematic analysis was applied to the qualitative data to investigate the factors that influence the practices of private cultural centres. Next, the quantitative data were reviewed to confirm or reject the assumptions from the qualitative data. A broad range of participants was selected to generate generalisable, reliable, valid and meaningful data and conclusions. The results support the conclusion that private cultural centres do not passively adhere to institutional constraints. Rather, they selectively choose strategic responses that balance conflicting institutional pressures and their own interests and goals. Additionally, the more dependent a cultural centre is on a single revenue source—in this study, the municipality—the greater conformity it displays. Likewise, the more dependent a cultural centre is on diverse revenue sources, the greater diversity it displays. Through this theoretical discussion and empirical assessment, this research contributes to an expanded, more accurate understanding of how organisations can engage in sustainability prac…
subject: Lektiot
  topic: section
subject: instituutioteoria
  topic: keywords
subject: kulttuurikeskukset
  topic: keywords
creator: Tomas Järvinen
rights: Copyright (c) 2020 Tomas Järvinen
date: 2020-06-18
publication date: 2020-06-18
starting page: 60
ending page: 69

Lukijalle
type: item
description: Päätoimittajalta.
subject: Pääkirjoitus
  topic: section
subject: pääkirjoitus
  topic: keywords
subject: historia
  topic: keywords
subject: tohtorikoulutus
  topic: keywords
subject: musiikintutkimus
  topic: keywords
subject: musiikintutkimus
  topic: disciplines
subject: historia
  topic: disciplines
creator: Ulla Pohjannoro
rights: Copyright (c) 2020 Tekijä
date: 2020-12-30
publication date: 2020-12-30
starting page: 5
ending page: 7

Välineiden välissä.
type: item
description: Arvostelu kirjasta Adaptation and Convergence of Media. ’High’ Culture Intermediality versus Popular Culture Intermediality. Aalto ARTS Books, Espoo, 2018.
subject: Kirja-arvostelut
  topic: section
subject: interediaalisuus
  topic: keywords
subject: korkeakulttuuri
  topic: keywords
subject: popularikulttuuri
  topic: keywords
subject: taideteoria
  topic: disciplines
subject: taiteentutkimus
  topic: disciplines
creator: Timo Kaitaro
rights: Copyright (c) 0 Tekijä
date: 2020-12-30
publication date: 2020-12-30
starting page: 77
ending page: 80

Approaching Robert Kajanus´ three last works for violin
type: item
description: This article explores Robert Kajanus’ (1856–1933) three last works for violin, Nocturne (1929), Menuet ancien (1930), and Spiccato (1931). These unpublished works show a largely unknown side of Kajanus as a composer. They highlight the fact that while Kajanus’ compositional output decreased after the 1890s he by no means stopped composing. The style of these works is also strikingly different from his national romantic works from the nineteenth century. The supporting material for all three works consists of several manuscripts, which include versions for both violin and piano, and violin and orchestra. These manuscripts sometimes include major revisions, and there are also sometimes differences between varying versions of the works. The interpretation of the available material therefore has a major role in how the music is presented. The works have initially been approached from a performer’s perspective, with the aim of bringing the works to the stage. Subsequently I have also become involved in an effort to publish Kajanus’ works for violin and piano. These two different perspectives have mostly complemented each other, but especially in the case of Kajanus’ Spiccato I have felt that my musician’s perspective has suggested different solutions than when approaching the work with an editorial mindset.
subject: Vertaisarvioidut artikkelit
  topic: section
subject: arkistotutkimus
  topic: keywords
subject: Robert Kajanus
  topic: keywords
subject: suomalainen musiikki
  topic: keywords
subject: taiteellinen tutkimus
  topic: keywords
subject: viulu
  topic: keywords
subject: musiikkitiede
  topic: disciplines
subject: taiteellinen tutkimus
  topic: disciplines
creator: Sebastian Silén
rights: Copyright (c) 2020 Tekijä
date: 2020-12-29
publication date: 2020-12-29
starting page: 48
ending page: 76

Shaping identities in choir competitions in Tanzania
type: item
description: In this article, I explore choir competitions as sites for building, strengthening, and expressing identities in one diocese of the Evangelical Lutheran Church in Tanzania. In addition to being events where the musical skills of the choirs and choir conductors can be demonstrated, these competitions are occasions in which sameness and difference become accentuated and various identities related to both groups and individuals are active. These identities include various components, such as musical, religious, and ethnic, among others. The competitions are occasions for strengthening and expressing these identities, but they also create a space for conflicts between the various aspects of identities.
subject: Vertaisarvioidut artikkelit
  topic: section
subject: identiteetti
  topic: keywords
subject: kuorot
  topic: keywords
subject: kuorokilpailut
  topic: keywords
subject: luterilainen kirkko
  topic: keywords
subject: Tanzania
  topic: keywords
subject: research in music
  topic: disciplines
subject: music education
  topic: disciplines
creator: Leena Lampinen
rights: Copyright (c) 2020 Tekijä
date: 2020-12-29
publication date: 2020-12-29
starting page: 8
ending page: 24

Miten tullaan kyborgiksi ja meedioksi? Esittävien taiteiden opettamisesta
type: item
description: This article presents the ideas of two French philosophers, Peter Szendy and Philippe Lacoue-Labarthe, on how to teach creativity in performing arts, especially playing an instrument and acting. Szendy is a musicologist-philosopher who studied music from the point of view of ‘deconstruction’. In this article, I show how he has ‘deconstructed’ the classical idea of artistic subjectivity by showing how his work is based on and even mixed with the materiality of the instrument and the score. One could even say that he shows how the musician gradually becomes a ‘cyborg’ of their instrument and a ‘medium’ of his/her score. Then I show how Philippe Lacoue-Labarthe, who is also strongly influenced by deconstruction, analyses the figure of the actor in a way that further develops the idea of the artist as a ‘medium’. This is why I present his analysis of Diderot's ‘Actor's paradox’. The aim of the article is not to explain all of Szendy and Lacoue-Labarthe’s thinking, but to present their point of view insofar as it might contribute to the discussion on performing arts.
subject: Vertaisarvioidut artikkelit
  topic: section
subject: Peter Szendy
  topic: keywords
subject: Philippe Lacoue-Labarthe
  topic: keywords
subject: muusikko
  topic: keywords
subject: näyttelijä
  topic: keywords
subject: opettaminen
  topic: keywords
creator: Susanna Lindberg
rights: Copyright (c) 2020 Susanna Lindberg
date: 2020-06-18
publication date: 2020-06-18
starting page: 22
ending page: 40

Ekspressiosta ja taiteen ekspressioteoriasta
type: item
description: In discussing art, expression and expressiveness are important notions. In recent years there have been lots of papers and other publications on the topic of expressiveness of music from the aspect of philosophy of music (e. g. Kivy 2002, Davies 2005, Robinson 2005, Trivedi 2017). Quite often the topic of these discussions has been the question of on what basis we attribute even to pure instrumental music expressive properties, such as cheerfulness or sadness. After all, music has no states of mind that justify those descriptions. Instead of focusing on expressive properties or in addition to it, we might try to find another point of view to the relation in which the human emotions, feelings and other subjective experiences are to works of music and to other works of art. One alternative view is the Expression Theory of Art that emerged in the end of the 18th century during the early romantic era. According to that theory, art is involved in representing and expressing emotions and feelings, and works of art must express emotions or feelings. In another version of this theory, an artist expresses his or her emotion in a work of art by which the emotion is transmitted to the audience.
subject: Katsaukset
  topic: section
subject: the Persona Theory
  topic: keywords
subject: ekspressio
  topic: keywords
creator: Elina Packalén
rights: Copyright (c) 2020 Elina Packalén
date: 2020-06-17
publication date: 2020-06-17
starting page: 41
ending page: 59