Ajankohtaista

SOIVAT KAUPUNGIT – Konsertti- ja esitelmäsarja 2012

Ohjelma

Järjestää Helsingin yliopiston musiikkitiede ja Helsingin yliopiston musiikkiseura (HYMS), osana Helsinki 200 vuotta -juhlavuoden ohjelmaa.

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ITALIALAISTA MUSIIKKIA HARMONIKALLA
ITALIAN SOUNDS – SUONI ITALIANI

Concert and Lecture Tuesday September 13, 2011 at 6 – 8 p.m.
Fabianinkatu 27, Festival Hall (Language Center), University of Helsinki

Cesare Chiacchiaretta (Conservatory of Lecce) – accordion
Paolo Rosato (Conservatory of Fermo) – introduction

Program

Domenico Scarlatti, 3 sonate
Antonio Vivaldi, L’Inverno
Cesare Chiacchiaretta, Toccata

Paolo Rosato, Kaiser Sonate (World Premiere)
Roberto Molinelli, Nino Rota Suite
Gioachino Rossini, Aria di Figaro

Cesare Chiaccheretta has been studying accordion from a very young age, and bandoneon later. He has been studying at the Music Academy of Pescara, Conservatory of Bari, and under many renowned maestros. Cesare Chiacchiaretta has performed for prestigious concert institutions in Italy and abroad. He has awarded many prizes at national and international competitions. He has been playing with the accordion quartet Accord’Ance since its formation. He is currently an accordeon teacher at the conservatory “T. Schipa” in Lecce.

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A public examination of the dissertation by MA Ramūnas Motiekaitis on Wednesday 14th of September, 2011 at 12 o’clock at the University of Helsinki, Main Building, Fabianinkatu 33, lecture room 6, third floor.

The subject of the thesis Poetics of the Nameless Middle: Japan and the West in Philosophy and Music of the Twentieth Century belongs to musicology. Opponents are professor Paulo Chagas (University of California) and professor Juha Varto (Aalto University School of Art and Design), and custos professor Eero Tarasti. Published in the series Acta Semiotica (XL). Abstract in E-thesis database.

The study investigates the affinities between philosophy, aesthetics, and music of Japan and the West. The research is based on the structuralist notion (specifically, of the narratology of Algirdas Julius Greimas), that the universal grammar functions as an abstract principle, underlying all kinds of discourse. The study thus aims to demonstrate how this grammar is manifested in philosophical, aesthetic, and musical texts and how the semiotic homogeneity of these texts can be explained on this basis. 
                      “Totality” and “belongingness” are the key philosophical concepts presented herein. As distinct from logocentrism manifested as substantializations of the “world of ideas”, god or mind, which was characteristic of previous Western paradigms, totality was defined as the coexistence of opposites. Thus Heidegger, Merleau-Ponty, Dōgen, and Nishida often illustrated it by identifying fundamental polarities, such as being and nothing, seer and seen, truth and illusion, etc. Accordingly, totality was schematically presented as an all-encompassing middle of the semiotic square.
                      Similar values can be found in aesthetics and arts. Instead of dialectic syntagms, “differentiated unity” is considered as paradigmatic and the study demonstrates how this is manifested in traditional Japanese and Heideggerian aesthetics, as well as in the aspects of music of Claude Debussy and Tōru Takemitsu.   

Ramūnas Motiekaitis studied composition at Lithuanian and Norwegian academies of music. He pursued and completed his doctoral studies at the University of Helsinki’s Department of Musicology. Motiekaitis currently lectures on Japanese philosophy at the Vilnius University and on musical aesthetics at the Lithuanian Academy of Music and Theatre.   

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A public examination of the dissertation by MA Gabriel Pareyón on Thursday 5.5.2011 at 10 o’clock at University of Helsinki, in Porthania, lecture room PIII.

The subject of the thesis “On Musical Self-Similarity – Intersemiosis as Synecdoche and Analogy” belongs to musicology. Opponent is professor Marc Leman (Ghent University, Belgium) and custos professor Eero Tarasti.

Self-similarity, a concept borrowed from mathematics, is gradually becoming a keyword in musicology. Although a polysemic term, self-similarity often refers to the multi-scalar feature repetition in a set of relationships, and it is commonly valued as an indication for musical ‘coherence’ and ‘consistency’.
     In this study, Gabriel Pareyon presents a theory of musical meaning formation in the context of intersemiosis, that is, the translation of meaning from one cognitive domain to another cognitive domain (e.g. from mathematics to music, or to speech or graphic forms). From this perspective, the degree of coherence of a musical system relies on a synecdochic intersemiosis: a system of related signs within other comparable and correlated systems. The author analyzes the modalities of such correlations, exploring their general and particular traits, and their operational bounds. Accordingly, the notion of analogy is used as a rich concept through its two definitions quoted by the Classical literature — proportion and paradigm, enormously valuable in establishing measurement, likeness and affinity criteria. At the same time, original arguments by Benoît B. Mandelbrot (1924–2010) are revised, alongside a systematic critique of the literature on the subject. In fact, connecting Charles S. Peirce’s synechism with Mandelbrot’s fractality is one of the main developments of the present study.

Gabriel Pareyon (Zapopan, Mexico, 1974), composer and musicologist, PhD candidate in Musicology, University of Helsinki (2006–11), MD and bachelor in music theory and composition, Royal Conservatoire, The Hague (2000–04). He studied at the Composers’ Workshop of the National Conservatoire of Mexico (1995–98), and at the Music School of the University of Guadalajara (1989–92).
     He won first prize in the World Saxophone Composers’ Competition (Ljubljana, 2006); second prize at the Tchaikovsky Conservatoire International Composers’ Jurgenson competition (Moscow, 2003); and third prize at the Andrzej Panufnik International Music Days (Krakow, 2001).
     He has published several books on history of Mexican music, as well as some international articles on different aspects of music theory, such as music semiotics, aesthetics, and music and mathematics. Since 1995 he is tenured member of the National Centre for Music Investigation, Documentation and Information (CENIDIM, Mexico City).

More information Gabriel Pareyón
gpareyon@yahoo.com

 

Welcome!

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Symposium Suomen musiikkitiede 100 vuotta
15.-18.3.2011 Helsinki

Avajaiskonsertti Helsingin yliopiston juhlasalissa 15.3. klo 18
Symposium Tieteiden talolla 16.-18.3.
Juhlanäyttely Kansalliskirjaston Rotundassa 8.3.-25.5.

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APPLIED ETHNOMUSICOLOY/Soveltava etnomusikologia
9.-10.12.2010 Vironkatu Ic2b
Opettaja: Dr. Klisala Harrison, University of British Columbia, Kanada

9 Dec. 2010 Thursday

10.15- 11.45
Intercultural Relationships and the Politics of Research: Histories, Concepts, Issues

12.45-14.15
Discussion: Well-being and Empowerment through Music

14.30-16.00
"Singing My Spirit of Identity": Aboriginal Music for Well-being in a Canadian Inner City

10 Dec. 2010 Friday

10.15-11.45 Kevään soveltava etnomusikologia -projektin suunnittelua niille, jotka osallistuvat siihen)

12.45-14.15
The Field of Applied Ethnomusicology

14.30-16.00
Discussion: Intercultural Research as Applied Ethnomusicology

Osallistujien tulisi etukäteen tutustua Maria Mendoncan artikkeliin ja valmistella kysymyksiä alla olevista teemoista.

Mendonca, Maria. 2010. Gamelans in Prisons in England and Scotland: Narratives of Transformation and the "Good Vibrations" of Educational Rhetoric. Ethnomusicology 54 (3): 369-394.

Please, come to class prepared to report, but also to raise questions either on:
1) music in prisons, and prison and transformation; OR
2) "Good Vibrations" - the involved background, format and approach; OR
3) the methodologies and problem solving approaches of "Good Vibrations," especially regarding how these relate to applied ethnomusicology.

Pirkko Moisala
Professor of Ethnomusicology

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XI Musical Signification kongressi Krakovassa

Helsingin yliopiston oppiaine musiikkitiede on toiminut jo vuodesta 1984 kansainvälisen musiikintutkimusprojektin 'Musical Signification' keskuksena ja järjestää nyt sen 11.  symposiumin yhteistyössä Krakovan musiikkiakatemian kanssa 27.9.-2.10.2010.

Programme

Schedule

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Helsingin yliopiston Humanistisessa tiedekunnassa esitetään torstaina 2.9.2010 kello 10 päärakennuksen auditoriumissa XII tarkastettavaksi MA Wojciech Stępieńin väitöskirja ”Signifying Angels. Analyses and Interpretations of Rautavaara’s Instrumental Compositions.” 

Vastaväittäjänä on professori Siglind Bruhn (University of Michigan, USA) ja kustoksena professori Eero Tarasti. Työ julkaistaan sarjassa Acta Universitatis Helsingiensis 20. Väitöskirjaa on saatavissa väittelijältä sekä musiikkitieteen oppiaineesta.

Einojuhani Rautavaara (s. 1928) on laajasti sivistynyt säveltäjä, jonka kiinnostuksiin kuuluu musiikin lisäksi filosofia, psykologia, kirjallisuus, kuvataiteet ja hengellisyys. Hän on myös lahjakas kirjailija sekä harrastajamaalari. Nämä ekstramusiikilliset kiinnostukset lyövät leimansa hänen musiikkiinsa. Väitöskirjan tutkimuskohteeksi on valittu orkesteriteokset, joiden nimi viittaa enkeleihin. Päämääränä on osoittaa, että tällainen nimiin perustuva teosten sarja on säveltäjälle tyypillinen ja vaikuttaa myös sävellystekniikkaan. Säveltäjälle enkeli on tärkeä vertauskuva, ja hän tulkitsee sen uskonnollisena, runollisena ja esteettisenä ilmiönä. Enkeleihin viittaavien orkesteriteosten tutkiminen edesauttaa ymmärtämään Rautavaaran ekstramusiikillisen lähestymistavan syvintä olemusta. Käsiteltävinä ovat orkesterialkusoitto ”Angels and Visitations” (1978), kontrabassokonsertto ”Angel of Dusk” (1980), ”Playgrounds for Angels” (1981) vaskiorkesterille, seitsemäs sinfonia ”Angel of Light” (1994) sekä ”Archangel Michael Fighting the Antichrist”, joka sisältyy pianosarjaan ”Icons” (1955) ja sen orkesteriversioon ”Before the Icons” (2006).

    

Wojciech Stępień (s. 1977) valmistui Karol Szymanowskin musiikkiakatemiasta (Katowice, Puola) filosofian maisteriksi pääaineinaan musiikinteoria ja sävellys (2002). Musiikkitieteilijänä hänen kiinnostuksensa kohteena ovat musiikin, uskonnon ja psykologian suhteet.

    

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Seminaari "Uuno Klami ja aikalaiset - Suomen musiikin 1920-luvun modernismi: uusia näkökulmia, tuntemattomia sävellyksiä"
1.-2.10. 2010. Sibelius-Akatemian kamarimusiikkisalissa. Seminaarin yhteydessä järjestetään Sulho Rannan ja Ernest Pingoud'n sävellyksille omistetut konsertit. Järjestäjät Uuno Klami -seura ja Sibelius-Akatemian DocMus-yksikkö.

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Prof. Eero Tarastilta on ilmestynyt uusi kirja italiaksi,
kustantajina Ricordi ja LIM (Libreria musicale italiana).

Eero Tarasti, I segni della musica. Che cosa ci dicono i suoni (a cura di Paolo Rosato).
La storia della musica offre numerose prove sulla possibilitá di intendere la musica come fenomeno di communicazione e significazione. In numerose pratiche culturali la musica funziona come segno e ció rimanda, da un lato, alla sua natura organica, dall'altro, al suo profondo e radicato livello "esistenziale". Negli ultimi decenni é emersa una nuova disciplina nella ricerca musicale e semiotica, e precisamente lasemiotica della musica. Uno dei maggiori studiosi di questo nuovo paradigma é Eero Tarasti, grazie anche al progetto internationale Musical Signification da lui avviato sin dal 1984. Ai giorni nostri, in cui l'analisi e la ricerca sono punti sempre piú centrali negli ambiti della educazione musicale, della pratica esecutiva e della composizione, la semiotica musicale é necessaria per chiarire la natura dei fatti musicali e le origini di questi ultimi nella mente umana. Per l'indagine semiotica la musica é ancora un "mistero", come ebbe modo di osservare una volta Claude Lévi-Strass, ma la musica ei aiuta a comprendere in che modo l'uomo produce i suoi segni e convive con essi nell'universo della semiosi.