Res Musica 17 (2025)

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

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Nüüd näidatakse 1 - 20 23

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.
Muusikalise komponeerimise printsiibid Lauri Lagle lavastustes
(Eesti Muusika- ja Teatriakadeemia, 2025) Saro, Anneli; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
The article draws on David Roesner’s book Musicality in Theatre: Music as Model, Method and Metaphor in Theatre-Making. But it extends Roesner’s dichotomy into a threefold division, treating musicality in theatre as a particular creative method (chapter 1), then as an aesthetic model (chapter 2), and finally as a metaphor—idea or material (chapter 3). The chapters tackle the following keywords: 1.1. ensemble, 1.2. musical instruments as agents, 2.1. numerical structure, 2.2. operatic emotion, 3.1. sound material and 3.2. abstract imagery. I have grouped these keywords into chapters according to the theatrical process and the different points of view (director and company versus spectator). Chapter 1 is related to both rehearsal processes and performing, i.e. principles of troupe formation, director’s working principles, rehearsal processes and performances should be examined. For the analysis I drew on interviews with the director, multiple viewings and video recordings of the productions. The phenomena discussed in chapter 2 are explored predominantly through performance analysis. Chapter 3 is related to the sensory and cognitive reception of the performance and the philosophical-theoretical preparation of the spectator. On the basis of this model, I analyse three productions by Estonian theatre director Lauri Lagle.
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.
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
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
Saateks
(Eesti Muusika- ja Teatriakadeemia, 2025) Pappel, Kristel; Pesti, Madli; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Avo Sõmerit meenutades
(Eesti Muusika- ja Teatriakadeemia, 2025) Pärtlas, Margus; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
Editors' Preface
(Eesti Muusika- ja Teatriakadeemia, 2025) Pappel, Kristel; Pesti, Madli; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
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.
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
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
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
Heli jälg mälumaastikul. Muusika ja heli eesti mäluteatris
(Eesti Muusika- ja Teatriakadeemia, 2025) Kruuspere, Piret; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
This article examines sound design in Estonian memory theatre, based on the works of playwrights Rein Saluri and Madis Kõiv and stage director Merle Karusoo from the 1970s up to the present. Drama and theatre are vehicles of collective memory and interpreters of national history, while memory is inherently connected with theatre. By definition, memory theatre can both imitate and depict common, often contradictory and repressed or erased memories of a shared past, but can also initiate processes of remembrance. I am seeking to answer the question of whether music and sounds can be defined as a meaningful characteristic of Estonian memory theatre. On the basis of close-reading, the article explores whether and to what extent music and sounds are written into dramaturgical texts. Based on my own memories as a theatregoer, contemporary reviews and recordings, it also examines whether and how so-called textual music and sound have been realized on stage and which functions and meanings they have carried. The theoretical framework is based on theatre and memory studies as well as on specific studies of sound design in drama theatre.
Muusikateadusliku elu kroonikat 2024/2025
(Eesti Muusika- ja Teatriakadeemia, 2025) Klooren, Äli-Ann; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
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
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.
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
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.
Helimaastikud Lauri Lagle lavastustes
(Eesti Muusika- ja Teatriakadeemia, 2025) Epner, Luule; Pappel, Kristel, toimetaja; Pesti, Madli, toimetaja
This article examines the role of soundscapes in the productions of contemporary Estonian theatre director Lauri Lagle. The concept of soundscape is introduced by drawing on interdisciplinary sound studies and the principles of musicality in post-dramatic theatre. The article examines the composition of the soundscapes in Lagle’s productions from 2012 to 2024: how they are created and what functions they perform in the productions as a whole. First, the main features of Lagle’s stage work are outlined, highlighting his aesthetic’s musicality. His theatrical practice is characterised by ensemble playing, polyphonic structure, and the active role of sound and music in staging. Subsequently, his soundscapes are examined according to their composition, analysing the artistic strategies for using music, nonmusical sounds, and the human voice. Particular attention is drawn to NO35 Päev pärast vaikust (After Silence) and Ainult jõed voolavad vabalt (Only Rivers Run Free), where the soundscapes are central, not limited to a background function but playing a part in the productions’ rhythm, meaning and atmosphere. The article shows that music and sounds can function in Lagle’s productions both as creators of dramaturgical continuity and as an alienating element that distinguishes the stage reality from the everyday world.

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