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.
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.
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, 2023) Raju, Marju, koostaja
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2020) Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
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(Eesti Muusika- ja Teatriakadeemia, 2019) Kõlar, Anu, koostaja
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2018) Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostaja
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.
Bürger-Oper and Bourgeois Theatre: The Opera of Hamburg at the Gänsemarkt (1678–1738) as a Culmination of Theatrical Practices Between Courtly Representation and Popular Traditions
(Eesti Muusika- ja Teatriakadeemia, 2020) Rekatzky, Ingo; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
The opera at the Gänsemarkt in Hamburg (1678–1738) was the first theatre in the German-speaking world to have a continuous cast, was run by a civic interest group, and was in principle open to everyone. Through the lens of theatre studies, in addition to a trans-regional cultural transfer, the present article focuses on theatre- and cultural-historical processes that have had a lasting effect and which can be also deduced from the eventful history of the opera house. As Hamburg’s Bürger Oper it is still rooted in the cultural memory, even though the Gänsemarkt-Oper, as far as its founding impulse and self-image was concerned, owed much to the demands and requirements of a courtly festive and theatrical culture. The repertoire of the opera reflects this: about one-sixth of the 300 operas performed were integrated into courtly aristocratic representations. Paradoxically, however, theoretical as well as practical interactions can be derived from these festive operas which – under the influence of a Protestant culture on the one hand, and in the interplay with popular theatre practices such as those of the Hamburg opéras comiques in the tradition of the Théâtre de la Foire on the other – foreshadowed in a remarkable manner the definition and fictional concept of the later bourgeois (straight) theatre of the Enlightenment.
Characteristics of the Compositional Process in Arvo Pärt’s Tintinnabuli Technique
(Eesti Muusika- ja Teatriakadeemia, 2022) Brauneiss, Leopold; Siitan, Toomas, koostaja; Arvo Pärdi Keskus; Kõrver, Kristina
Many of Pärt’s compositions in tintinnabuli technique are based on structural ideas which manifest themselves in a characteristic specification of common rules, very often in connection with a given text. As these rules remain valid for the whole or part of a composition, it follows that no details arising from them can be altered. Thus, the first step of the compositional process is to find a proper set of rules, very often in accordance with the formal structure of a given text, that guarantees satisfactory results at every moment. As the sketches for the Te Deum exemplarily reveal, this means that Pärt tries out different sets of rules and abandons them immediately if they are not suitable. Another peculiarity is that the compositional process does not end with the first performance but is a work in progress leading to many revisions in order to find the perfectly sounding formulation of the basic structural ideas.
Codex der Preetzer Benediktinerinnen in dem Estnischen Historischen Museum zu Tallinn
(Swedish Society for Music Research, 1996) Siitan, Toomas
“Comrades in Misfortune”: Arvo Pärt and Valentyn Sylvestrov, from Experimentation to Mystery, Periphery to Center
(Eesti Muusika- ja Teatriakadeemia, 2022) Schmelz, Peter; Siitan, Toomas, koostaja; Arvo Pärdi Keskus; Kõrver, Kristina
Like many young Soviet composers during the post-Stalin Thaw, Arvo Pärt and Valentyn Sylvestrov experimented with a range of musical techniques in the 1960s before turning in radically simplified directions during the next decades. Notably, both Pärt and Sylvestrov were among the only composers from their generation featured in the Soviet youth magazine Krugozor in the late 1960s, a time when Sylvestrov was more successful than Pärt on the global stage. But the Union of Composers of Ukraine was harsher than its Estonian counterpart, and Sylvestrov suffered severely from its policing in the 1970s. This paper explores for the first time the stylistic intersections and influences between Pärt and Sylvestrov. Focusing on the 1960s, and the appearance of music by both composers in Krugozor, it traces the parallel yet distinct paths of both composers, paying close attention to the compositions featured in the magazine: Sylvestrov’s Mystery and Pärt’s Pro et contra. The contacts and contrasts between Pärt and Sylvestrov tell a particularly potent story about musical experimentation and discovery from the 1960s through the present.
Controlled Disorder in Polymusic: The Case of the Seto Wedding Song Genre Kaasitamine
(Eesti Muusika- ja Teatriakadeemia, 2020) Pärtlas, Žanna; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
The term ‘polymusic’, which has been in use in ethnomusicology since the 1990s, designates musical practices where two or more autonomous musical entities are deliberately performed in the same space and time in a largely uncoordinated manner. The musical texts – which may be the same or different – that are juxtaposed in a polymusical performance may also be performed separately; when performed together, however, they constitute a new complex hypertext which has new meanings and functions and may to some extent be musically coordinated. Nevertheless, polymusical performance always engenders some kind of musical disorder which, being deliberately produced, can be characterized as a controlled disorder. Such disorder is a means to accomplish the ritual functions to which the polymusical genres are usually related and to induce some specific psychological effects, which are often connected with the manipulation of time and space. In this study the theoretical, ethnographic and cognitive questions of polymusic are discussed with reference to the case of the kaasitamine, the Seto wedding song genre from South-East Estonia. This research reveals the different traditional forms of kaasitamine performance characterised by the different balance between coordinated and uncoordinated components, analyses the more subtle mechanisms for the creation of controlled disorder, and considers the possible psychological effects of polymusic in relation to an altered perception of time.
Editor’s Preface
(Eesti Muusika- ja Teatriakadeemia, 2022) Siitan, Toomas; Siitan, Toomas, koostaja; Arvo Pärdi Keskus; Kõrver, Kristina
Editor’s Preface
(Eesti Muusika- ja Teatriakadeemia, 2023) Raju, Marju
Editor’s Preface
(Eesti Muusika- ja Teatriakadeemia, 2021) Kotta, Kerri, koostaja

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