Trio https://trio.journal.fi/ <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, 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> Sibelius Academy, University of the Arts Helsinki fi-FI Trio 2242-6418 Rakenteiden törmäys. Taiteellinen toimintatutkimus Teatterikorkeakoulun ja Sibelius-Akatemian yleisökontaktikurssista https://trio.journal.fi/article/view/113280 <p>Colliding structures: Artistic action research on audience contact course at the Sibelius and Theatre Academies.</p> <p><br />This article focuses on a period between 2018–2019 when students from the Sibelius Academy were invited to take part in an audience contact course offered by the Theatre Academy. The experiment was carried out as an artistic activity analysis. During the course, theatre and music students formed working groups which encountered people from different habitation units and organized art workshops for them. Based on their experiences, the groups prepared performances which they performed in the health care and social security units as well as in prisons. We focus especially on what we term ‘structural collisions’ taking place between different practices: firstly, we examine the collision between Uniarts students and reception center workers in organizing art workshops. Another structural collision we discuss rose from the collaboration between different academies. We consider how representatives of different art genres discuss the work concept of a collaboration-based performance and how different work concepts define the agency of the artists within a work-group-based artistic process. The aim is to offer visions on how the Theatre Academy and the Sibelius Academy might develop collaborative communal art education at the Uniarts Helsinki.</p> Jussi Lehtonen Anu Vehviläinen Copyright (c) 2021 Jussi Lehtonen ja Anu Vehviläinen https://creativecommons.org/licenses/by-nc/4.0/ 2021-12-31 2021-12-31 10 2 9 36 10.37453/trio.113280 Resonance. (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration https://trio.journal.fi/article/view/113284 <p>This artistic doctoral research examines how the third space emerging from intercultural dialogue and transcultural collaboration can be a catalyst for new musical discoveries, intercultural humility, and the (re)forming of artistic identities. The body of this project is centred around three doctoral concerts, a CD/LP recording, and a documentary film which took place between 2016 and 2021. In addition, I draw on the embodied experience of a five-year period that I spent living and collaborating with musicians and dancers in Tanzania and Zambia prior to the doctoral project.<br>As a double bass player, multi-instrumentalist, and composer, I place myself in a series of different musical and multi-arts contexts, engaging in dialogue with musicians, dancers, and visual artists from Brazil, Colombia, Estonia, Finland, France, Madagascar, Mexico, Poland, Sápmi, Tanzania, the UK and Zambia. Various solo, duo, and ensemble settings act as case studies to examine how this process takes place, the new knowledge gained from the collaborations and their resulting artistic outcomes, and the effects of intercultural dialogue, collaboration, and co-creation on my own artistic identity. The instruments and forms of artistic expression used by my collaborators include the Brazilian berimbau, Chinese guzheng, dance, live electronics, experimental instrument making, Finnish Saarijärvi kantele, Sámi joik, vocals, percussion, live visuals, image manipulation, animation, photography and film.<br>The key concepts that I investigate in this research are: artistic identity, global citizenship, hybridity, interculturalism, intercultural humility, liminality, third space theory, and resonance, the latter being viewed both as a physical phenomenon and as an approach to thinking about the ways in which we connect with the world around us. This research contributes to new knowledge and understandings in the areas of artistic identity formation, intercultural collaboration and interculturalism in music education through the interweaving of artistic processes, audio, video, photographs, artistic outcomes and text.<br>Findings emerge in terms of new musical discoveries that surface from the dynamic third space created through transcultural collaboration; the expanding and deepening of musicianship through intercultural dialogue and collaboration; the interconnected nature of interculturalism in music and its reliance on openness, empathy, dialogue and constant<br>negotiation with sonic material, people and place; and the crucial role of fluidity and resonance in forming a personal artistic identity.<br>Further research outcomes include new techniques and the expansion of the sonic palette of the double bass, enabled by developing custom-made attachments, preparations and electronic manipulation. The complete scope of this doctoral project includes four artistic components (three concerts and a recording), a documentary film and an artistic doctoral thesis comprising two peer-reviewed articles and an integrative chapter, all housed within the main multi-media exposition, Resonance: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration.</p> Nathan Riki Thomson Copyright (c) 2021 Nathan Riki Thomson https://creativecommons.org/licenses/by-nc/4.0/ 2021-12-31 2021-12-31 10 2 49 56 10.37453/trio.113284 Taitelija – tiedon alkuperäisasukas? https://trio.journal.fi/article/view/113279 <p>Lukijalle.</p> Ulla Pohjannoro Copyright (c) 2021 Ulla Pohjannoro https://creativecommons.org/licenses/by-nc/4.0/ 2021-12-31 2021-12-31 10 2 5 8 10.37453/trio.113279 Kollaasista montaasiin, taidemuodosta toiseen https://trio.journal.fi/article/view/113281 <p>Magda Dragu’s monograph analyses the uses and development of collage and montage in the early avantgarde. Dragu analyses how these techniques were intermedially transposed from one art form into others, and discusses their use in painting, photography, cinema, literature and music. Although the emphasis is on the formal analysis of these techniques, the study also examines in detail the diverse ways that they were used to produce meanings.</p> Timo Kaitaro Copyright (c) 2021 Timo Kaitaro https://creativecommons.org/licenses/by-nc/4.0/ 2021-12-31 2021-12-31 10 2 37 40 10.37453/trio.113281 Conference report: Doctors in performance, Tallinn, 1-3 September 2021 https://trio.journal.fi/article/view/113282 <p>This report chronicles the author’s participation in the Doctors in Performance (DiP) Festival Conference, September 2021, at the Estonian Academy of Music and Theatre, Tallinn. It is the fourth edition of DiP since its inauguration in 2014 at the Sibelius Academy, Uniarts Helsinki. Since the start of the COVID-19 pandemic in Europe in early 2020, most conferences<br>have been either postponed, cancelled or held online. This Conference is one of the first to be held as an in-person event as Europe starts to move towards a post-pandemic period. Some participants gathered in person (including the author), while parallel online participation was also enabled as a hybrid event. This report records the conference events as DiP enters into maturity with a focus on artistic research and music performance. It also describes the author’s impressions regarding issues of ‘liveness’ in varied categories, including spoken presentations, music performances, their online equivalents, live or prerecorded presentations and online or live participations.</p> Mieko Kanno Copyright (c) 2021 Mieko Kanno https://creativecommons.org/licenses/by-nc/4.0/ 2021-12-31 2021-12-31 10 2 41 48 10.37453/trio.113282