Page 1. 402 Ethnomusicology, Fall 1994 402 Ethnomusicology, Fall 1994 histories ... The Historica... more Page 1. 402 Ethnomusicology, Fall 1994 402 Ethnomusicology, Fall 1994 histories ... The Historical Approach and Applied Ethnomusicology Vesa ...
Page 1. 402 Ethnomusicology, Fall 1994 402 Ethnomusicology, Fall 1994 histories ... The Historica... more Page 1. 402 Ethnomusicology, Fall 1994 402 Ethnomusicology, Fall 1994 histories ... The Historical Approach and Applied Ethnomusicology Vesa ...
Suomalainen radiokenttä on ollut yli 30 vuotta jatkuvan
muutoksen tilassa. Kehitys ei tulevaisuud... more Suomalainen radiokenttä on ollut yli 30 vuotta jatkuvan muutoksen tilassa. Kehitys ei tulevaisuudessa näytä rauhoittumisen merkkejä, pikemminkin päinvastoin. Internetin palvelut tarjoavat uusia mahdollisuuksia kaikille radioyhtiöille. Samalla musiikkiradioiden ja ääniteteollisuuden keskinäinen suhde ja siihen liittyvä ansaintalogiikka on jatkuvan uudelleenarvioinnin kohteena. Tämä artikkelikokoelma ei pyri ennustamaan tulevaisuutta, mutta siinä esitetyt analyysit radioiden lähimenneisyydestä tarjoavat aineksia myös tulevan kehityksen hahmottamiseen.
The relationship between radio and music has drawn particularly little attention from scholars in... more The relationship between radio and music has drawn particularly little attention from scholars in the field of communications and media studies, considering the prominence that music has in today’s radio programming. This lack of research may be due to theoretical and methodological shortcomings – music may not be approached with the same scholarly toolkit as other radio content. This collection of writings is an attempt to contribute to the obvious lack of scholarly literature on the topic – all the essays in this anthology focus first and foremost on music.
[see below for English version]
C-kasetti muutti musiikin kulutus- ja tuotantokäytäntöjä kaikki... more [see below for English version]
C-kasetti muutti musiikin kulutus- ja tuotantokäytäntöjä kaikkialla maailmassa 1960- luvun lopulta alkaen. Helppokäyttöinen tallennusalusta muovasi musiikin käyttöä perinpohjaisesti, ja suomalaisten arkeen ilmestyivät kotiäänittäminen ja kokoelmakasetit. Kirjassa syvennytään tähän karvahattuformaattiin aikalaisjulkaisujen, tilastojen ja aiempien musiikinkuuntelua koskevien tutkimustulosten avulla. Tärkeässä osassa ovat kasetinkäyttäjien omat muistot eri elämänvaiheissa. Kirja kertoo myös kasetin myötä syntyneistä kuuntelu- ja kulutustottumuksista ja siitä, kuinka ne ilmenevät nykyisessä mediankäytössä.
The compact cassette changed the consumption and production of music all over the world. The affordable and user-friendly format shaped the use of music. In Finland, home taping and mixapes became parts of everyday life experience. This book studies the effects of the format using statistics, contemporary publications, previous research on music listening and written recollections of almost 1000 Finnish cassette users. It also analyses how music listening and consumption practices from c-cassette days persist in today's media usage.
Wagner studies have tended to disregard ‘popular Wagner’, i.e. the reception of his music outside... more Wagner studies have tended to disregard ‘popular Wagner’, i.e. the reception of his music outside the opera scene and serious orchestral concerts. However, Wagner’s popularization played an important part in the programme planning of Robert Kajanus, who acted as an active Wagner promoter in late 19th-century Helsinki. Kajanus was a conductor who organized special Wagner evenings as part of a series of popular concerts, especially favoured by upper-class audiences. ‘Popular Wagner’ was not performed often but nevertheless quite regularly; during the period under study (1890–1911), Wagner evenings were held almost every year, altogether in 36 concerts.
Presumably, there were two reasons for this institutional practice of presenting Wagner’s music. On the one hand, Wagner’s music was in high demand by concert audiences in Helsinki. On the other hand, Kajanus was a devout Wagnerian who aimed to use his popular concerts as a tool for promoting a wider Wagner reception in Finland.
A more detailed analysis of the repertoire of Kajanus’ orchestra shows that, regardless of the term ‘popular’, the popular concerts were far from being merely entertaining or undemanding. The concerts contained a lot of music that was no less serious than the music performed by the orchestra in symphony concerts or in concerts featuring soloists.
Furthermore, the music played in Wagner evenings repeated and utilized two musical affections typical of all the popular concerts organized by Kajanus: Heroism and solemnity and Romantic dream and longing. These contrastive moods were continuously mixed during the evening, in a manner familiar to the popular concert audiences, who were used to enjoying music at the concert venue Seurahuone.
This all means that playing Wagner’s music in popular concerts was well-suited for Kajanus’ repertoire planning – it was by no means exceptional or curious – nor can it be considered to have appeared in the wrong context. The repertoire of the Wagner evenings in Helsinki concentrated on a few orchestral works, of which a great part consisted of overtures, preludes and interludes from the composer’s most famous operas – without favouring any particular opera – and other original compositions for orchestra.
The Wagner evenings featured the most well-known Wagner repertoire, which was familiar to every average concertgoer in 20th-century Finland and elsewhere from one generation to another. Kajanus no doubt made Wagner’s music popular among the wider audience in Helsinki, thus making the Wagner evenings organized by Kajanus an important episode in the history of Wagner reception in Finland.
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Papers by vesa kurkela
muutoksen tilassa. Kehitys ei tulevaisuudessa näytä rauhoittumisen
merkkejä, pikemminkin päinvastoin. Internetin palvelut
tarjoavat uusia mahdollisuuksia kaikille radioyhtiöille. Samalla
musiikkiradioiden ja ääniteteollisuuden keskinäinen suhde ja siihen liittyvä ansaintalogiikka on jatkuvan uudelleenarvioinnin kohteena. Tämä artikkelikokoelma ei pyri ennustamaan tulevaisuutta, mutta siinä esitetyt analyysit radioiden lähimenneisyydestä tarjoavat aineksia myös tulevan kehityksen hahmottamiseen.
This collection of writings is an attempt to contribute to the
obvious lack of scholarly literature on the topic – all the essays in this anthology focus first and foremost on music.
C-kasetti muutti musiikin kulutus- ja tuotantokäytäntöjä kaikkialla maailmassa 1960- luvun lopulta alkaen. Helppokäyttöinen tallennusalusta muovasi musiikin käyttöä perinpohjaisesti, ja suomalaisten arkeen ilmestyivät kotiäänittäminen ja kokoelmakasetit. Kirjassa syvennytään tähän karvahattuformaattiin aikalaisjulkaisujen, tilastojen ja aiempien musiikinkuuntelua koskevien tutkimustulosten avulla. Tärkeässä osassa ovat kasetinkäyttäjien omat muistot eri elämänvaiheissa. Kirja kertoo myös kasetin myötä syntyneistä kuuntelu- ja kulutustottumuksista ja siitä, kuinka ne ilmenevät nykyisessä mediankäytössä.
The compact cassette changed the consumption and production of music all over the world. The affordable and user-friendly format shaped the use of music. In Finland, home taping and mixapes became parts of everyday life experience. This book studies the effects of the format using statistics, contemporary publications, previous research on music listening and written recollections of almost 1000 Finnish cassette users. It also analyses how music listening and consumption practices from c-cassette days persist in today's media usage.
Presumably, there were two reasons for this institutional practice of presenting Wagner’s music. On the one hand, Wagner’s music was in high demand by concert audiences in Helsinki. On the other hand, Kajanus was a devout Wagnerian who aimed to use his popular concerts as a tool for promoting a wider Wagner reception in Finland.
A more detailed analysis of the repertoire of Kajanus’ orchestra shows that, regardless of the term ‘popular’, the popular concerts were far from being merely entertaining or undemanding. The concerts contained a lot of music that was no less serious than the music performed by the orchestra in symphony concerts or in concerts featuring soloists.
Furthermore, the music played in Wagner evenings repeated and utilized two musical affections typical of all the popular concerts organized by Kajanus: Heroism and solemnity and Romantic dream and longing. These contrastive moods were continuously mixed during the evening, in a manner familiar to the popular concert audiences, who were used to enjoying music at the concert venue Seurahuone.
This all means that playing Wagner’s music in popular concerts was well-suited for Kajanus’ repertoire planning – it was by no means exceptional or curious – nor can it be considered to have appeared in the wrong context. The repertoire of the Wagner evenings in Helsinki concentrated on a few orchestral works, of which a great part consisted of overtures, preludes and interludes from the composer’s most famous operas – without favouring any particular opera – and other original compositions for orchestra.
The Wagner evenings featured the most well-known Wagner repertoire, which was familiar to every average concertgoer in 20th-century Finland and elsewhere from one generation to another. Kajanus no doubt made Wagner’s music popular among the wider audience in Helsinki, thus making the Wagner evenings organized by Kajanus an important episode in the history of Wagner reception in Finland.