In the academic world, Finland boasts a high level of expertise in all things Russian. Over the past decade, musicologists too have begun to show an increasing interest in our eastern neighbour and above all in its history.
Estonian musicologist Heli Reimann has come a long way, from a country village in Soviet Estonia via Florida to the University of Helsinki. As a musician and a scholar, she immersed herself in Estonian jazz culture in the Stalin era, delving into the reminiscences of musicians of the time and their underground jazz parties.
What does democratic education look like from the perspective of music? In October, the ArtsEqual research initiative was launched to survey equality in various branches of the arts. At its centre is Resonaari, a music institute leading by example to show what potential musicianship may be found in the margins of society.
"Through its themes and concert practices, Our Festival keeps building on the experience of living in a shared world and facing common problems."
Composing always has a social dimension, because composers engage in it in the context created by society. Yet composers’ views on the relationship between music and society have varied a great deal over the centuries. What do today’s composers think about their work in relation to current social and political issues?
Rock star, bohemian, busker, creative genius, contemporary composer, pop singer, session player. Our images of music and musicians are easily associated with images of money and wealth, or the absence of same. Some of these people seem to be filthy rich, while others do not have two pennies to rub together – or simply do...
Music Finland’s latest report on the market value of music export shows that it continues to be a growing industry. Compiling music statistics is not without its problems, but the figures portray a clear message about the importance of investing in music export.
Edited by Vesa Kurkela and Marko Tikka and released in late 2014, a new book about the Finnish accordion covers, among other things, the early stages of the instrument and the most significant players, as well as going through the Finnish accordion repertoire.
Music audiences’ age structure and consumer patterns are changing, offerings are growing and becoming more varied, but for now, one thing remains unchanged: there are enough festival-goers in Finland for hundreds of festivals. Organisers must nevertheless have their feelers out for changing expectations from their customers.
The Lions have an interesting musical repertoire associated with them, and to the delight of many and the disgust of others this repertoire is revived every year. Thanks to the media that function as extensions of the ice hockey arena, these songs are ubiquitous, and new ones are added every year.
Sibelius’s music has, naturally, been a popular topic among Finnish music researchers. Three recent dissertations open new perspectives on the composer’s orchestral and vocal music. We let the new ‘Sibelius doctors’ elaborate on their research.
The concept of a national musical language made its way to Finland in the 1800s. One of the culminations of this new wave was the premiere performance of Sibelius’s Kullervo. The birth of this epic music historical tale was influenced by a number of endeavours, ideas and occurrences.