Res Musica 10 (2018)

Permanent URI for this collectionhttps://hdl.handle.net/10062/97447

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A Pianist’s Approach to Complex Musical Material in Ligeti’s Études
(Eesti Muusika- ja Teatriakadeemia, 2018) Kapten, Kristi; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
This article deals with performer’s experiences in handling the pianistic challenges in the demanding études of György Ligeti (1923–2006). The article analyses possible approaches to the complicated musical material and describes how to master the études as effectively as possible through specific practice methods. Ligeti’s études are among the most complex pieces of piano music, demanding exceptional virtuosity and concentration from the pianist. An important structural component of the études is complicated polyrhythm, which makes learning and performing them particularly intense mentally. There are many polymetric passages where the pianist must choose which metre to proceed from in cognitive terms in order to achieve both technical confidence and the desired musical effect. The author gives examples of experiments with different metrical feelings in the work process and describes different technical and mental practice methods which prove useful for learning Ligeti’s études. The research is based on the author’s experiences while practising and performing Ligeti’s études, analysing notes taken during the preparatory phase. The main method is self reflection. In addition, other pianists’ thoughts have been gathered from conversations, master classes and literature.
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2018) Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
Editors’ Preface
(Eesti Muusika- ja Teatriakadeemia, 2018) Pappel, Kristel; Uusma, Hanna-Liisa; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
Eduard Tubin. Barbara von Tiesenhusen. Opera in three acts and nine scenes. Score, Piano score, Tallinn 2016
(Eesti Muusika- ja Teatriakadeemia, 2018) Siems, Christoph; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
Kevin C. Karnes. Arvo Pärt’s Tabula Rasa. New York 2017
(Eesti Muusika- ja Teatriakadeemia, 2018) Siitan, Toomas; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
Musical Motion Graphics – Communicating Live Electronic Music
(Eesti Muusika- ja Teatriakadeemia, 2018) Fischer, Christian M.; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
Live electronic music, including acoustic instruments and electronic sound generation and manipulation, faces specific challenges regarding its composition and performance. There is no music notation available which could equally represent the acoustic and the computer instrument. Due to the often complex musical structure and the possible lack of expressiveness during the performance, live electronic music is not easily accessible for the audience. These challenges are based on a lack of communication. This article discusses the use of Musical Motion Graphics (MMG) linked to visual communication theory to tackle the above-mentioned challenges. MMG cannot be considered as music notation in the sense of western music notation since the eighteenth century since its aim is not a normative canon or universal validity. Nevertheless, it has a music notational purpose, which manifests in video scores. It offers an open framework of so-called determined ambiguity, allowing the mapping of visual and acoustic parameters. MMG communicates time structure and indicates musical objects and their relations. The exact synchronisation of actions and events of all the instruments involved is possible. An MMG score supports audience understanding of the music by visualising the composition through an intuitively understandable score.
Muusikateadusliku elu kroonikat 2017/2018
(Eesti Muusika- ja Teatriakadeemia, 2018) Klooren, Äli-Ann; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
Possible Mental Models for the Conductor to Support the Ensemble Playing of the Orchestra
(Eesti Muusika- ja Teatriakadeemia, 2018) Gerts, Mihhail; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
The paper attempts to identify tools to enable the conductor to prevent problems in ensemble playing (keeping performers together). The purpose is to derive systematic mental models, the implementation of which would enable the conductor to prevent or reduce musical losses in the typical problematic situations that inevitably arise during performance. The author analyses passages from some of the musical works he conducted at the Estonian National Opera at the time of his doctoral studies (Estonian Academy of Music and Theatre, 2007–2011). The aim is to identify, from individual cases which led to success or failure, certain more general principles. Through the analysis of typical situations mental models are derived, and their implementation in practical conducting is described. The passages analysed come mainly from orchestrally accompanied recitative. This choice, based primarily on the fact that stage music and especially such passages clearly highlight problems of ensemble, also highlights the desire to connect theoretical research with practical problems experienced while conducting. The methodological model is based on the work of conductor and psychologist Georgy Yerzhemsky, additionally supplemented by the opinions of many other conductors.
“Produced by some chemical waste and cum”: TOMM¥ €A$H and His Concept of Signifying “post-Sovietness”
(Eesti Muusika- ja Teatriakadeemia, 2018) Pasdzierny, Matthias; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
Artists like Tommy Cash transfer certain aesthetic practices of hip hop such as Eminem’s “signifying whiteness” to the context of post Socialist countries and regions. By doing so they create “bastardised” forms of pop culture, inverting the role of the “Eastern European” underdog and cheap imitator of “Western” pop culture into an advantage. Comparable to bands from other transforming societies like the South African Die Antwoord, Cash draws significantly upon aspects of white trash culture, in his case the Russian gopnik style. On the other hand he offers a very hybrid star persona, situated on the borders of “west” and “east”, gaining the attention of international as well as Estonian and Russian audiences especially with his meme videos. By doing so he is less a mouthpiece, for example, for the Russophone minority in Estonia, and more a representative of the so-called generation of the Children of the New East, their own collective memories and often liminal identities.
Saateks
(Eesti Muusika- ja Teatriakadeemia, 2018) Pappel, Kristel; Uusma, Hanna-Liisa; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
“Stalin is a wise man, Lenin was a little bird.” On Creating Soviet Folklore in the Seto Region during the Stalin Era
(Eesti Muusika- ja Teatriakadeemia, 2018) Kalkun, Andreas; Oras, Janika; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
The article focuses on the creation of songs about Soviet leaders and topical political issues by traditional singers of Setomaa (which is situated on either side of the border between south-eastern Estonia and Russia) during the Stalinist period. The first half of the article deals with the establishing of the concept and practices of creating folklore in the Soviet Union and the adaptation of these in occupied Estonia in the 1940s and 1950s. The cooperation of the singers and folklorists is analysed from the perspective of the “topography of the possible” in the context of a Soviet colonial matrix of power and the modernisation of Seto traditional culture, also including the oral singing tradition and gender roles. In addition to these general processes, details of particular singers’ individual experiences are also considered. The analysis of the song texts using the method of close reading focuses on religious and lament motifs, hyperbole, and the “incorrect” interpretations, the latter being based on the traditional religious worldview of the Seto as well as on formulaic language, which diverges from “normative” ideological discourse. The publishing history of the political songs is interpreted from the perspective of cultural appropriation.
Such a Strange Vibration: Rock Music as the Affective Site of Divergence among the Soviet Estonian Nonconformist Youth
(Eesti Muusika- ja Teatriakadeemia, 2018) Toomistu, Terje; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
While Timothy Leary was preaching “Turn on, tune in, drop out” in the late 1960s in the United States, young people in the Soviet Union were practising another kind of tuning in. Radio Luxembourg and other foreign radio signals leaked through the Iron Curtain, bringing with them “the strange vibration” that sparked new social arenas and affective engagements. Iconic hippie-era albums were illicitly distributed, copied on reel-to-reel tapes, and exchanged within the networks of music lovers. In Soviet Estonia a distinctive rock music scene evolved. Rock music was the key source and the means of divergence for the nonconformist youth of Soviet Estonia, many of whom identified as or were connected to the hippies. The radically different sound of psychedelic rock prompted ecstatic states of mind and triggered new imaginaries. The affective engagements with music created a sense of connection with the global pop culture and youth movements and, ultimately, fostered the sense of an imaginary elsewhere. Since these engagements diverged from the predominant discourses, and the Soviet authorities often regarded them as dangerous for societal well-being, the affectively loaded practices and experiences of music guided the youth to redefine their relationship to the daily reality and ideology of Soviet life. Hence, the rock music milieu became the site in which certain affects (interest in rock music), affective states of mind (kaif) and expressions (practices of style, artistic languages) fostered the agency of the nonconformist youth by creating a space of sensory divergence.
The Emergence of Estonian Hip-Hop in the 1990s
(Eesti Muusika- ja Teatriakadeemia, 2018) Vallaste, Triin; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
In this article I trace the ways in which hip-hop as a global form of expression has become indigenized in post-Soviet Estonia. Hip-hop’s indigenization coincides with the collapse of the Soviet Union in 1991. After the dissolution of the USSR, dominant Estonian social discourses eagerly celebrated re-entering the European-American world and embracing its values. The uncensored global media outlets accessible after 1991 and rapid developments in information technology shortly thereafter were crucial to the history of Estonian-language rap. Hip-hop artists’ extensive involvement with new media and technologies reflects an extremely swift transition from ill-equipped to fluent manipulation of technology, which affected cultural production and structures of participation in various sociocultural spheres. While hip-hop culture emerged in the South Bronx during the early 1970s as a radical voice against increasing economic hardship and social marginalization, Estonian hip-hop was established in the early 1990s and developed in the context of a rapidly growing economy, rising living standards, and strong national feeling within a re-independent Estonian state. Hip-hop artists’ production vividly reveals both the legacies of Soviet rule and the particular political economy of post-Soviet Estonia.

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