Res Musica 17 (2025)

Selle kollektsiooni püsiv URIhttps://hdl.handle.net/10062/117676

Sirvi

Nüüd näidatakse 1 - 20 23

Muusikalisuse printsiibid ja muusika Eesti Draamateatri lavastuses „Vend Antigone, ema Oidipus“
(Eesti Muusika- ja Teatriakadeemia, 2025) Pesti, Madli; Pappel, Kristel; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
This article analyses the musical principles and their performative function in Vend Antigone, ema Oidipus (Brother Antigone, Mother Oedipus, Estonian Drama Theatre, 2023, directed by Tiit Ojasoo). The production, based on Mati Unt’s play, emphasizes the significance of musicality as both phenomenological and performative, integrating live music, choral singing and a diverse array of borrowed musical elements, including folk songs, classical fragments and intertextual references. Utilizing a dual perspective inspired by Bert O. States’s phenomenology and semiotics and supported by David Roesner’s approach to musicality, the analysis explores how music functions as a structural model, a means of creating atmosphere, and an agent of emotional and symbolic expression. The production employs a polyphonic and ritualistic approach, where physicality, vocality, rhythm and spatiality intertwine to evoke visceral and collective experiences. The study highlights how the musical design fosters a multisensory engagement, blurring the boundaries between traditional theatre and musical performance, and demonstrates the integral role of music in shaping the theatrical space, emotional impact and cultural intertextuality within contemporary theatre.
Autonoomiaesteetikast ja tema genealoogiast
(Eesti Muusika- ja Teatriakadeemia, 2025) Ruus, Aurora; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
In the Western art music paradigm, music is understood and interpreted primarily as an autonomous musical work based on the concept of autonomy aesthetics. The ideas derived from autonomy aesthetics influence music culture in almost all its forms, from composing and performing to music criticism and historiography. Since both the emergence of philosophical aesthetics and broader changes in social conditions played an important role in the development of autonomy aesthetics at the end of the 18th century, this article focuses on examining these different contexts in the spirit of philosophical genealogy inspired by Friedrich Nietzsche and Michel Foucault. Starting from the present as a problem situation, I will first examine how autonomy aesthetics is expressed in today’s music culture. By offering a concise context and analysis of autonomy aesthetics and its genealogy, tracing its roots in the broader social, philosophical, and cultural-historical space, I will then show that the understanding of music based on autonomy aesthetics is often taken for granted as a historical construct, while it is actually just one possible narrative among others. Consequently, but also in the light of new developments in music culture, it is thus important to critically examine this concept anew.
Muusikaline performance 1980–1991. Sven Grünberg, Ariel Lagle
(Eesti Muusika- ja Teatriakadeemia, 2025) Kibuspuu, Liis; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
The article examines the role of original music in Estonian performance art of the 1980s, focusing on two key artist-musician collaborations: Leonhard Lapin (1947–2022) / Sven Grünberg (b. 1956), and Ariel Lagle (b. 1963) / Siim-Tanel Annus (b. 1960). It highlights the often-overlooked significance of music in the audiovisual composition of the era’s performance art. In the late 1970s, Lapin introduced the concept of multimedia to Estonian theatre audiences in his writings. In 1980, he staged Multiplitseeritud inimene (The Multiplied Human), a technophilic spectacle based on texts by the pre-war constructivist poet Johannes Vares-Barbarus (1890–1946), incorporating synthesizer sounds by Grünberg at the State Youth Theatre of the Estonian SSR. This production inspired Siim-Tanel Annus, who in December of the same year organized the first in a series of garden rituals that gradually evolved into elaborate spectacles of performance art integrating theatrical elements, design, special effects, and original music by Lagle in the late 1980s. The article analyses these collaborations and sound design principles, focusing on minimalist and ambient music influences. Drawing on archival materials and interviews, it provides a comprehensive view of music’s vital role in shaping Estonian performance art during this period.
Vokaalpartii teksti selge kostmise saavutamine ooperiteatri kontekstis
(Eesti Muusika- ja Teatriakadeemia, 2025) Kala, Veeda; Raju, Marju; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
The sung text in opera is difficult for listeners to understand, even when sung in a language they know. Various explanations have been found for this, for example in the case of very high notes. However, opera texts remain incomprehensible in other cases as well. The goal of this research was to collect firsthand insights from singers regarding textual clarity, an aspect often overlooked in previous systematic studies. The study conducted 30 semi-structured interviews with professional opera singers from Europe and North America, conducted in Estonian (n = 11) and English (n = 19). As the problem concerns all voice types, all the singers who agreed to participate in the study and gave interviews were included in the work. Among the singers were three basses, three baritones, six tenors, one countertenor, six mezzo-sopranos, and eleven sopranos. This article focuses specifically on their reflections regarding the role of other professionals in supporting textual clarity. Although no direct questions were asked about these roles, the topic emerged spontaneously in several interviews. The findings suggest that improving text intelligibility in opera requires collaborative effort among singers, teachers, directors, conductors, production organizers, and even audiences.
Jaan Ross. Mentem mortalia tangunt. Artikleid, mälestusi, kirju ja intervjuusid. Tallinn: Emakeele Sihtasutus, 2024
(Eesti Muusika- ja Teatriakadeemia, 2025) Vurma, Allan; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Erik Alalooga. Meisterdamise süsteemse meetodi väljatöötamine objektiteatrile. Tallinn: Eesti Muusika- ja Teatriakadeemia kirjastus, 2024
(Eesti Muusika- ja Teatriakadeemia, 2025) Kelomees, Raivo; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Editors' Preface
(Eesti Muusika- ja Teatriakadeemia, 2025) Pappel, Kristel; Pesti, Madli; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Muusikateadusliku elu kroonikat 2024/2025
(Eesti Muusika- ja Teatriakadeemia, 2025) Klooren, Äli-Ann; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
David Kellner ja cembal d’amour’i taassünd
(Eesti Muusika- ja Teatriakadeemia, 2025) Dolgopolova, Aleksandra; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
This article examines the life and work of David Kellner (1670–1748) in connection with the cembal d’amour, a rare eighteenth-century keyboard instrument invented by Gottfried Silbermann. The study is based primarily on the writings of musicologist Kenneth Sparr, whose extensive research on Kellner provides the main scholarly foundation, while the author supplements it with new geographical and cultural perspectives. Born near Leipzig, Kellner studied in Tartu (Dorpat) and pursued parallel careers as jurist, poet, military officer, and musician before settling as an organist in Stockholm. His theoretical treatise Treulicher Unterricht im General-Baß (1732) became an influential and widely disseminated basso continuo manual of the eighteenth century. Kellner’s only surviving musical collection, XVI. Auserlesene Lauten-Stücke (1747), reflects his connections to lute traditions and the repertory of Sylvius Leopold Weiss. The article also foregrounds Kellner’s stepdaughter, Regina Gertrud Schwartz (later König), recognized as Livonia’s first female poet and possibly Estonia’s first female composer, who commissioned Silbermann’s innovative cembal d’amour. Through biography, theory, composition, and instrument history, the study highlights under-explored dimensions of Kellner’s legacy and demonstrates the significance of reconstructing the cembal d’amour for both historical performance and musicological research.
Tragöödia artikuleerimine sonaadi kaudu: kahe arhetüüpse narratiivi kohtumine Semperi-Ojasoo-Eltsi „Macbethis“
(Eesti Muusika- ja Teatriakadeemia, 2025) Kotta, Kerri; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
The production of Macbeth by Ene-Liis Semper, Tiit Ojasoo and Olari Elts transcends the conventional boundaries of both drama and music theatre. This article examines the interplay and convergence of the two archetypal narratives in Macbeth, the tragedy and the archetypal sonata, with a particular emphasis on the role of music within the production. It begins by outlining the traditional formsemantic structures of the two archetypal narratives. The analysis identifies distinct form-semantic phases or stages, with tragedy encompassing five phases and the sonata comprising four. Subsequently, the interactions between these phases (20, 4x5) and the distribution of musical elements within the framework of the tragedy are explored. The findings underscore the profound relationship between music and tragedy in the Macbeth production. This relationship is evident not only at the macro-level of form—such as the diminishing of music’s commentary role juxtaposed with an expansion of the reactive role in the narrative progression—but also at the micro-level. For instance, the musical articulation of characters and events is analysed in depth. Furthermore, the study highlights several emotional, temporal, intertextual, and moral dimensions of the music within the production.
Suur samm edasi teel Venemaa „Nürnbergini“: Inna Klause, Andreas Waczkat, Stefan Weiss (Hrsg.). Композиторы в ГУЛАГе в годы правления Сталина / Komponisten im GULAG der Stalinzeit. Baden-Baden: Georg Olms, 2024
(Eesti Muusika- ja Teatriakadeemia, 2025) Kirme, Maris; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Autorid/authors
(Eesti Muusika- ja Teatriakadeemia, 2025) Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Muusikateater helilooja vaates: Helena Tulve ja Tatjana Kozlova-Johannes. Prelüüd ja intervjuu
(Eesti Muusika- ja Teatriakadeemia, 2025) Pappel, Kristel; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Kuidas analüüsida muusikalisust teatris?
(Eesti Muusika- ja Teatriakadeemia, 2025) Toome, Hedi-Liis; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
The article ‘How to Analyse Musicality in Theatre?’ analyses the role of musical design in three different Estonian theatre productions: Kolm ahvi (Three Monkeys; Ugala Theatre, 2022), Stereo (Tartu New Theatre, 2022), and Mis saab siis, kui meid enam ei ole? (What Happens When We Are No Longer Here?; Tartu New Theatre, 2023). These productions share minimal use of text, emphasizing rhythm and atmosphere over narrative content. The article discusses the concept of musicality in theatre, where sound design transcends mere support for the director’s vision, becoming an integral part of the theatrical experience. The analysis highlights the strategic function of musical design, its aesthetic goals, and the interplay between music and other theatrical elements. By examining these productions, the article proposes methods for analysing theatre works that do not fit neatly into conventional categories, highlighting the importance of musicality as an aesthetic device.
Jeffers Engelhardt, Katherine Pukinskis (eds.). Baltic Musics Beyond the Post-Soviet. Tartu: Tartu University Press, 2024
(Eesti Muusika- ja Teatriakadeemia, 2025) Merivoo-Parro, Maarja; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Saateks
(Eesti Muusika- ja Teatriakadeemia, 2025) Pappel, Kristel; Pesti, Madli; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Alessandro Baricco. Hegeli vaim ja Wisconsini lehmad. Mõtisklus süvamuusikast ja modernsusest. Tallinn: Eesti Muusika- ja Teatriakadeemia kirjastus, 2024
(Eesti Muusika- ja Teatriakadeemia, 2025) Tool, Aare; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Brigitta Davidjants. J.M.K.E.’s To the Cold Land. London: Bloomsbury Academic, 2025
(Eesti Muusika- ja Teatriakadeemia, 2025) Engelhardt, Jeffers; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Meeta Morozov (koost.). Tormise kaasteelised. Valik kirju. Elavik 21, Tallinn: Eesti Teatri- ja Muusikamuuseum, 2024
(Eesti Muusika- ja Teatriakadeemia, 2025) Kõlar, Anu; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Avo Sõmerit meenutades
(Eesti Muusika- ja Teatriakadeemia, 2025) Pärtlas, Margus; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja

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Sirvi Res Musica 17 (2025) Kuupäev järgi