Eesti Muusika- ja Teatriakadeemia

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17. sajandi esimese poole Tartu ja Tallinna muusikalistest pulmaõnnitlustest
(Eesti Muusika- ja Teatriakadeemia, 2019) Kaju, Katre; Kõlar, Anu, koostaja
This article deals with a number of occasional poems printed in Tartu and Tallinn during the period 1632–1656 which are either accompanied by sheet music or composed on the basis of some well-known song. Altogether there are three pieces of occasional music preserved, together with 15 poems which could be defined as contrafacta. The small amount of printed sheet music shows that this was an exception in Tartu and Tallinn. The songs that were used as models for new poetical compositions are both religious and secular. The authors of the religious songs include composers such as Philipp Nicolai, Michael Praetorius and Basilius Förtsch. Among the authors of the secular songs we may mention Gabriel Voigtländer, Johann Nauwach and Caspar Kittel. Many of the secular models were pastorals, some of which used the text of the very influential German poets Martin Opitz and Paul Fleming.
A PhD Thesis About Film Musicals
(Eesti Muusika- ja Teatriakadeemia, 2020) Ross, Jaan; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
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.
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
Artemi Troitski. Back in the USSR: roki ajalugu raudse eesriide taga
(Eesti Muusika- ja Teatriakadeemia, 2024) Ventsel, Aimar; Schaper, Anu; Davidjants, Brigitta, koostaja
Arvo Pärt, Hardijs Lediņš and the Ritual Moment in Riga, October 1977
(Eesti Muusika- ja Teatriakadeemia, 2019) Karnes, Kevin C.; Kõlar, Anu, koostaja
Drawing on archival research and oral history, this article reconstructs events surrounding the premieres of Arvo Pärt’s first openly sacred tintinnabuli-style compositions, including his Missa syllabica, at the Festival of Contemporary Music held in Riga in October 1977. It highlights the work of the Latvian artist and architecture student Hardijs Lediņš (1955–2004), whose discotheque at the Riga Polytechnic Institute hosted the event. Tracing the reception of the festival and Pärt’s music by participants, notably the pianist Alexei Lubimov, the composer Vladimir Martynov, and the violinist Boriss Avramecs, the article suggests that an informal network of students and alternative artists played a crucial role in nurturing and supporting this most ideologically problematic corner of Pärt’s compositional activity of the period. For a little over a year, Lediņš’s disco provided an underground space for the presentation of experimental art and the experience of creative freedom. That experience, however, was short-lived, as festival organizers were charged with distributing religious propaganda shortly afterwards, and they were barred from engaging in future organizational work of the sort.
Authenticity and the Subcultural Network of the Estonian Pagan Metal Scene
(Eesti Muusika- ja Teatriakadeemia, 2024) Holitsyna, Polina; Davidjants, Brigitta, koostaja
Artiklis uuritakse subkultuurse autentsuse konstrueerimist ja taastootmist Eesti pagan metal’i skeenes nii seesmisest kui ka välisest perspektiivist. Pagan metal’i skeene all mõistab autor extreme metal’i skeene ühte osa Eestis, mis on ühtlasi artikli analüütiline tööriist. Pagan metal hõlmab bände, mis muusikaliselt lähtuvad black metal’i helimaastikust ning mille tekstid on seotud ajaloo ja looduse teemaderingiga. Oma analüüsis toetub autor subkultuurivõrgustiku (Williams 2011) ja võrgustiku (Noyes 1995) mõistetele, defineerides subkultuursust kolme tsooni kaudu: esimene tsoon (muusikud ja kõige aktiivsemad subkultuuri liikmed), teine tsoon (paljud fännidest) ja liminaalne tsoon (ebapüsivad subkultuuris osalejad). Analüüsi keskmes on välitööde andmed, mis pärinevad esmajoones muusikutelt. Seega on artikli fookus autentsuse tajumisel ja konstruktsioonidel esimeses tsoonis. Välitöö meetodid hõlmasid intervjuusid, küsimustikke, osalusvaatlust ja netnograafiat (veebiruumide uurimist). Andmeid kogus autor kontsertidel, eraviisilistel koosviibimistel, järelpidudel, festivalidel ja üks-ühele-intervjuudes. Autor uurib subkultuuri seesmisi autentsuse konstrueerimise ja taastootmise protsesse temaatilistes ja sotsiaalsetes mõõdetes (Larsson 2013), mis on omavahel tihedalt seotud. Sotsiaalne autentsus hõlmab antud juhul subkultuurseid käitumismalle ja praktikaid, samas kui autentsuse temaatiline aspekt puudutab visuaalseid väljendusi, stiili ja sümboleid. Kuigi seesmisest perspektiivist kiputakse subkultuurisisest autentsust samastama „kire” mõistega, mis viitab esmajoones sotsiaalsele mõõtmele, näitab välisest perspektiivist lähtuv, et osalejad väljendavad oma arusaamu autentsusest, väärtustades pühendumust, kohalolekut ja teadmisi. Kuigi osalejad ise vaidlustasid idee, mille kohaselt määravad subkultuuri liikme autentsuse olulisel määral välimus ja stiil, selgus uuringutulemustest siiski, et visuaal on siseringi sotsiaalset autentsust kujundava väärtusena oluline, näiteks soengute, fännikaupade ja aksessuaaride kaudu. Selline komplekssus näitab, et pühendumus metal’i elustiilile ulatub kaugemale juhuslikust osalusest subkultuurses elus ning tähendab pigem järjepidevust ja subkultuuri elementide kaasamist igapäevaellu. Seega on antud skeene raames tõeliselt subkultuurne inimene see, kelle jaoks metal on elustiil, mis kujundab tema argivälimust ja käitumist, tuues omakorda kaasa tugeva subkultuurisisese kuuluvustunde. Neid mõisteid analüüsib autor Hard Rock Laagri festivali näitel, mis on hea näide autentsuse taastootmisest kollektiivses kontekstis. Festivalil kogunevad samale pinnale, millel subkultuurilised teadmised kujunevad ja kus neid taastoodetakse, nii esimese kui ka teise tsooni subkultuursed inimesed, samuti liminaalsed liikmed. Olulisel kohal on nii sotsiaalne kui ka temaatiline siseringi autentsus, mis realiseerub Hard Rock Laagri tegevuses ja visuaalses stiilis. Tervikuna illustreerib artikkel subkultuurilise autentsuse seesmiste ja väliste perspektiivide keerukust, mis kujuneb sageli esimese järgu tsoonis ja kinnistub laiemas extreme metal’i subkultuuris.
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.
Autorid
(Eesti Muusika- ja Teatriakadeemia, 2022) Siitan, Toomas, koostaja; Arvo Pärdi Keskus; Kõrver, Kristina
In Estonian and in English
Autorid / Authors
(Eesti Muusika- ja Teatriakadeemia, 2021) Kotta, Kerri, koostaja
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2024) Davidjants, Brigitta, koostaja
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2020) Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2023) Raju, Marju, koostaja
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2019) Kõlar, Anu, koostaja
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2018) Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
Autorid/authors
(Eesti Muusika- ja Teatriakadeemia, 2025) Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Avo Sõmerit meenutades
(Eesti Muusika- ja Teatriakadeemia, 2025) Pärtlas, Margus; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Baroque Elements and Specific Orchestral Functions in Beethoven’s Triple Concerto Op. 56
(Eesti Muusika- ja Teatriakadeemia, 2021) Rakochi, Vadim; Kotta, Kerri, koostaja
This paper discusses the uniqueness, in style and genre, of Beethoven’s use of the orchestra in the Triple Concerto. The orchestration of the Triple Concerto is characterised by its reliance on tutti, the limited role of orchestral soloists (unlike in Beethoven’s other concertos), and infrequent alternations between instrumental groups. This is closely linked to an element of the Baroque (indicated through the concept of the concerto, which derives from the Italian verb concertare “to agree”, the triple concerto model, and the choice of soloists) in the Classical concerto (indicated through the use of sonata form, the manner of presenting the material, and the instrumentation). The orchestra acts as a genre-creating factor as a result of the undisclosed competition between the Baroque concerto grosso, the Classical solo concerto, and chamber trio models. The orchestra becomes a form-defining factor thanks to its use to mark the boundaries between the sections of sonata form, here smaller than is usual in the Classical sonata, a fact which occasionally makes the succession of episodes similar to ritornello form; furthermore, it is the orchestra that is significantly associated with a surprising synergy of Classical and Baroque elements to form a hybrid model of the concerto.
Beethoven’s Theme of the Slow Movement of Piano Sonata Op. 13: Phrasing, Functional Cycles, Metre and Dramaturgy
(Eesti Muusika- ja Teatriakadeemia, 2021) Khannanov, Ildar D.; Kotta, Kerri, koostaja
In this article the author tackles the issues of phrasing, functional cycle, metric hierarchy, form and dramaturgy as related to the analysis of the second movement of Ludwig van Beethoven’s Piano Sonata Op. 13. These elements are heterogeneous and, perhaps, would be better discussed separately. However, the author goes back to nineteenth-century music scholarship as an example of dealing with heterogeneity despite the incompatible character of its elements. Phrasing is thus related to tonalfunctional cycles of various designs; these are both linked to the metric hierarchy on the local level (iambic unit) and on the level of the metric period, as suggested by Hugo Riemann. The author points to some parallels with the poetic structure of the four-foot iamb. Beethoven mixes and matches diverse patterns in a contemplative and reflective flow of ideas, appropriate for such a noble Adagio. The author then compares several editions of the Adagio with regard to articulation of phrasing. Finally, Beethoven’s slow movement is analyzed in terms of musical dramaturgy – a category well researched in the Russian tradition by Viktor Tsukkerman and Viktor Bobrovsky. The ultimate goal of the article is to bring to the attention of the readers the complexity and perfection of Beethoven’s musical poetics on the 250th anniversary of his birth.
Borrowing existing material, and irony: compositional strategies and their aesthetic context
(Estonian Academy of Music and Theatre, 2024) Nastari, Fabrizio; Ross, Jaan, juhendaja
The thesis “Borrowing Existing Material, and Irony: Compositional Strategies and their Aesthetic Context” “Olemasoleva muusikalise materjali korduskasutamine ning iroonia: kompositsioonistrateegiad ja nende esteetiline taust”) is part of a creative research doctoral project and it investigates the compositional process of creating new music by borrowing existing musical material to fulfill a personal ironic intent. The studies on borrowing actions show how the selection and use of existing musical material has a deeper meaning than just inspiration to a tradition or style. In this thesis, the concept of irony triggers and gives meaning to such actions, expressing a personal vision of the world. The aim of this research is to show how I developed a structured approach that satisfies a technical and an aesthetic need at the same time. How can composers effectively borrow existing musical material to satisfy personal aesthetic goals? The autoethnographic approach led an introspective reflection on personal artistic interests, experiences, and compositional processes, aiming to gain deeper self-awareness and insight into the creative decision-making process. Furthermore, following the Information Theory, the thesis addresses the description of the creative process by dividing semantic information and aesthetic information. Thus, the research reports how the composition process involves selected musical conventions (melody and musical form), the borrowing actions (quotation and allusion), compositional strategies (recontextualization and modification), and eventually how the music created incorporates the element of irony, which remains a personal artistic and aesthetic choice. Reflecting on the outcomes of the research, the study underscores the importance of introspection and self-awareness in the compositional process. By critically examining personal interests and creative impulses, composers can cultivate a deeper understanding of their artistic identity and refine their compositional approach. Finally, the insights gained from this research have potential applications in pedagogy, as exemplified by the development of the "Composing with 14th Century Technique" course at the Estonian Academy of Music and Theatre.

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