Browsing by Author "Raju, Marju, koostaja"

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    (Eesti Muusika- ja Teatriakadeemia, 2023) Raju, Marju, koostaja
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    Idee on ajatu. Pidepunkte Arnold Schönbergist
    (Eesti Muusika- ja Teatriakadeemia, 2023) Pappel, Kristel; Raju, Marju, koostaja
    This article deals with the main aspects of the thoughts and works of Arnold Schoenberg (1874–1951). Starting out from the composer’s aesthetic and religious views, these are then considered both in terms of their context and in their relationship to his works. Among other things, Schoenberg’s attitude to neo-classicism and the musical heritage of the past is highlighted, as well as the innovative character of his expressionist stage works. The final part of the article gives a brief overview of the most important stages in the composer’s life. By the end of the article it should be clear why Schoenberg is still necessary and important to us, both for his ideas and for his music.
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    In Celebration of Jaan Ross: Perspectives on ESCOM and Musicæ Scientiæ
    (Eesti Muusika- ja Teatriakadeemia, 2023) Ginsborg, Jane; Raju, Marju, koostaja
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    Kivistunud lauluhääl ja šalmei. Ühest hiliskeskaegsest muusikukujutistega aknapiilarifragmendist Tallinna Linnamuuseumi raidkivikogus ning seda täiendavatest artefaktidest
    (Eesti Muusika- ja Teatriakadeemia, 2023) Paju, Risto; Raju, Marju, koostaja
    This article considers, from the perspective of research into the history of things, a fragment of a late medieval window pillar with depictions of musicians which was found in Tallinn City Museum’s collection of carved stone. The purpose is to introduce one of the hitherto unexplored and little-known carved stone pillars in this collection and to present a selection of artefacts (a stained glass fragment with the image of a musician from the Kalamaja district of Tallinn, a carved stone with the image of a singer from Vene Street in Tallinn, a carved stone with the image of a jester from the Tallinn City Museum and a medieval flute from the Tartu City Museum) and places related to musicians (the musicians’ balcony of the Tallinn Great Guild Hall and the Piperbude stall of Tallinn city musicians) to supplement the information obtained from the pillar. The aim is to give the reader the opportunity to develop a broader picture of the lives of medieval musicians in Tallinn and in Estonia in general. Additionally, the author aims to reveal what the local musicians’ spatial and material world directly related to their work might have looked like
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    Kuidas nõukogustada džässi? Lisandusi džässivastase kampaania algusele Nõukogude Eestis 1946. aasta varasügisel
    (Eesti Muusika- ja Teatriakadeemia, 2023) Tannberg, Tõnu; Raju, Marju, koostaja
    The Soviet regime, which returned to Estonia in the autumn of 1944, launched an extensive process of Sovietisation that affected all spheres of life in society. Jazz music also fell out of favour. An antijazz campaign was launched in the Estonian SSR during September and October 1946 in the press, where articles penned by the music critic Serafim Milovski, who was exceedingly loyal to the regime, set the tone. Yet the attacks on jazz were not limited to the press alone. This article shows that against the background of the public ‘discussion’ that took place in the press, the question of jazz – how to Sovietise jazz? – also appeared on the agenda at the level of the power elite of the Estonian SSR. A letter dated 28 September 1946 from Johannes Semper, the head of the Estonian SSR Arts Administration, to Nikolai Karotamm, the leader of the Estonian Communist Party, confirms this. The letter outlines the power elite’s shared understanding with regard to jazz music, which influenced the Soviet regime’s subsequent steps in guiding this sphere of activity towards a Soviet path.
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    Meie südames leidub koht Adornole
    (Eesti Muusika- ja Teatriakadeemia, 2023) Raju, Marju; Raju, Marju, koostaja
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    Mis vaevab Adornot?
    (Eesti Muusika- ja Teatriakadeemia, 2023) Siitan, Toomas; Raju, Marju, koostaja
    Despite the controversies it has caused, Theodor W. Adorno’s Philosophy of New Music (1949) is one of the fundamental texts of modernist musical aesthetics. The article discusses the complex personal background of the author as well as the historical context of this work, which can be understood at least partly as a complement to the Dialectic of Enlightenment (1947), co-written with Max Horkheimer. The problems of the dehumanization of art and the relation of modernity to mass culture, as well as the loss of communicativeness in 20th-century musical modernism, are discussed. Attention is paid to the background of the national ideology of Adorno’s music philosophy, which sprouts from the German cultural ideology formed at the turn of the 18th and 19th centuries. In the 19th century, music in general and the idea of the primacy of German music particularly played a significant role in the construction of German national identity, and at the beginning of the 20th century, both the defenders of the German musical tradition and the modernists started from a similar ideological base. The totalitarian cultural ideology of Nazi Germany was also formed on this ideological base, and its equivalent can be seen in Eastern Europe in the 20th century.
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    Muusikateadusliku elu kroonikat 2022/2023
    (Eesti Muusika- ja Teatriakadeemia, 2023) Klooren, Äli-Ann; Raju, Marju, koostaja
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    Täies vastavuses Murphy seadusele: Jaan Ross ilukirjanduse tõlkijana
    (Eesti Muusika- ja Teatriakadeemia, 2023) Belobrovtseva, Irina; Raju, Marju, koostaja
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    Tallinna Riikliku Konservatooriumi 1948. aasta teaduslik sessioon nõukogude ideoloogia kontekstis
    (Eesti Muusika- ja Teatriakadeemia, 2023) Morozov, Meeta; Raju, Marju, koostaja
    In December 1948 the first academic session of the Tallinn State Conservatoire took place. The organisation of this event was directly related to the resolution of the Communist Party of the Soviet Union “On Muradeli’s Opera The Great Friendship”, which was issued on 10 February 1948 and marked a significant increase in ideological pressure on the musical life of the USSR. In accordance with the demands of the Party, the session concentrated on (re)evaluating Estonia’s musical heritage according to the principles of Marxist-Leninist aesthetics and on seeking the relationship between Estonian and Russian culture. This article examines the papers of the session from the perspective of the expression of Soviet ideology. One of the strategies of the Soviet regime for implementing its worldview was the re-evaluation of the past by rewriting history. From the point of view of Estonian music history, the Conservatoire’s session papers were one of the first documented pieces of evidence of such a reassessment. The purpose of the article is therefore to analyse what elements of Soviet ideology are present in the texts and how and by which means the authors associated them with Estonian music history.
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    Teose ühisautorsus ja selle mängulised elemendid heliloojate põlvkondliku mõttekaasluse peegeldajana Malera Kasuku klaveritrios (1977)
    (Eesti Muusika- ja Teatriakadeemia, 2023) Veenre, Anu; Raju, Marju, koostaja
    Collaborative authorship of compositions is a rare phenomenon in classical music. An intriguing example of this from Estonian music history is a piano trio – a neoclassical piece consisting of three movements for violin, cello and piano – jointly composed in 1977 by three young composers, Mati Kuulberg (1947–2001), Lepo Sumera (1950–2000) and Raimo Kangro (1949–2001). They attributed the work to the pseudonym Malera Kasuku, formed from the initial syllables of their own names, which is still used in promotional materials for the composition. The article focuses on the creation, presentation, performances and reception of Malera Kasuku’s Piano Trio, illustrating the uniqueness of this multi-authored collaboration. The discussion reveals a certain generational creative like-mindedness among the three composers in the 1970s, while also exposing some aspects of the organisation of the Composers’ Union as the central institution of Soviet professional composers. From a theoretical standpoint, the thematic approach is based mostly on the idea of postmodernist playfulness, which manifests itself through all the above-mentioned facets of the work and reveals the composers’ humorous attitude towards their piano trio. The work’s descriptions and reviews in various media outlets published since its creation serve as the study’s main sources.
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    Theodor W. Adorno raadioteooria: tõlgenduskatse Eesti vaatenurgast 1920. ja 1930. aastatel
    (Eesti Muusika- ja Teatriakadeemia, 2023) Tool, Aare; Raju, Marju, koostaja
    In the 1920s and 1930s radio receivers were advertised as the most wonderful invention of the century, making music and news from all over Europe easily accessible to everyone. What radio broadcasting brought to the musical scene was supposedly a perfect bond between technological innovation and the democratization of culture. According to Theodor W. Adorno (1903–1969), however, these idyllic perspectives had their aesthetic and political drawbacks. Although Adorno’s essays on radio broadcasting (Current of Music, 2009) were written in 1938–1941 with American radio stations in mind, the motivation behind his radio scepticism can also be explained from an Estonian point of view. An analysis of radio listening and public reception in Estonia, with the focus on the years immediately following the beginning of regular radio broadcasts in Tallinn on 18th December 1926, reveals a considerable degree of similarity in the ideology surrounding radio broadcasts in their early days in Estonia and the US. While Adorno’s remarks about the “standardisation” of radio broadcasts were not fully pertinent in the more varied and fragmented European context, the main problem he posed remains highly relevant: what is the intellectual and political price one has to pay for music to be easily accessible on the air?