Singing and dancing the rhythm of life : oral poetry in the Abanyole community of Kenya

A statement presented at the oral defence of a Dr. Phil. dissertation on Saturday 26th October 2002, University of Helsinki

Extraordinary mode of singing by Finlanders

London : Joseph Mawman 1802

St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing

The present study examines the repertory of liturgical chant known as St. Petersburg Court Chant which emerged within the Imperial Court of St. Petersburg, Russia, and appeared in print in a number of revisions during the course of the 19th century, eventually to spread throughout the Russian Empire and even abroad. The study seeks answers to questions on the essence and composition of Court Chant, its history and liturgical background, and most importantly, its musical relationship to other repertories of Eastern Slavic chant. The research questions emerge from previous literary accounts of Court Chant (summarized in the Introduction), which have tended to be inaccurate and generally not based on critical research. The study is divided into eight main chapters. Chapter 1 provides a survey of the history of Eastern Slavic chant and the Imperial Court Chapel of St. Petersburg until 1917, with special emphasis on the history of singing traditional chant in polyphony, the status of the Court Chapel as a government authority, and its endeavours in publishing church music. Chapter 2 deals with the liturgical background of Eastern chant, the chant genres, and main repertories of Eastern Slavic chant. Chapter 3 concentrates on chant sources: it introduces the musical notations utilised, after which a typology of chant books is presented. The discussion continues with a survey of the sources of Court Chant and their content, the specimens selected for closer analysis, the comparative materials from other repertories, and ends with a commentary on some chant sources that have been excluded. The comparative sources include a specimen from around the beginning of the 12th century, a few manuscripts from the 17th century, and printed and manuscript chant books from the early 18th to early 20th century, covering the geographical area that delimits to the western Ukraine, Astrakhan, Nizhny Novgorod, and the Solovetsky Monastery. Chapter 4 presents the approach and methods used in the subsequent analytical comparisons. After a survey of the pitch organization of Eastern Slavic chant, the customary harmonization strategy of traditional chant polyphony is examined, according to which a method for meaningful analysis of the harmony is proposed. The method is based on the observation that the harmonic framework of chant polyphony derives from the standard pitch collection of monodic chant known as the Church Gamut, specific pitches of which form eight harmonic regions that behave like the usual tonalities of major and harmonic minor. Because of the considerable quantity of comparative chant forms, computer-assisted statistical methods are applied to the analysis of chant melodies. The primary chant forms and their respective comparative forms have been pre-processed into reduced chant prototypes and divided into redactions. The analyses are carried out by measuring the formal dissimilarities of the primary chant forms of the Court Chant repertory against each comparative form, and also by measuring the reciprocal dissimilarities of all chant versions in a redaction, the results of which are subjected to agglomerative hierarchical clustering in order to find out how the chant forms relate to each other. The dissimilarities are determined by applying a metric dissimilarity function that is based on the Levenshtein Distance. Chapter 5 provides the melodic and harmonic analyses of generic chants (chants used for multiple texts of different lengths), i.e., chants for stichera samoglasny and troparia, Chapter 6 of pseudo-generic chants (chants that are used for multiple texts but with certain restrictions), i.e., chants for heirmoi, prokeimena, and three other hymns, and Chapter 7 of non-generic chants, covering nine chants that in the Court repertory are not shared by multiple texts. The results are summarized and evaluated in Chapter 8. Accordingly, it can be established that, contrary to previous conceptions, melodically, Court Chant is in effect a full part of the wider Eastern Slavic chant tradition. Even if it is somewhat detached from the chant versions of the Synodal square-note chant books and the local tradition of Moscow, it is particularly close to chant forms of East Ukraine and some vernacular repertories from Russia. Respectively, the harmonization strategies of Court Chant do not show significant individuality in comparison with those of the available polyphonic comparative sources, the main difference being the part-writing, which generally conforms to western common practice standard, whereas the deviations from this tend to be more significant in other analysed repertories of polyphonic chant. Thus, insofar as the subsequent prevalence of Court Chant is not based on its forceful dissemination by authorities (as suggested in previous literature but for which little tangible evidence could be found in Chapter 1), in the present author’s interpretation, Court Chant attained its dominance principally because musically it was considered sufficiently traditional, and as a chant body supported by the government, was conveniently available in print in serviceable harmonizations.

Becoming-singer : cartographies of singing, music-making and opera

Milla Tiaisen väitöskirja Becoming-singer : cartographies of singing, music-making and opera tarkastettiin Turun yliopistossa 28.4. Vastaväittäjänä toimi Professori Amy Herzog (CUNY) ja kustoksena professori John Richardson.

Naamion takaa : näyttelijäntyön palapelini

The subject of this bachelor's thesis has its origins in the frequently asked question of an author; whether any of their own theatrical techniques correlate with those of any well-known theatrical personality. The aim of this bachelor's thesis, consequently, was to find out the true nature of the author as an actor and theatrical professional. The author started to put together a puzzle, from different fields of acting techniques, and came up with a solid picture. Different acting techniques and the basics of them were clarified and tested in practice. Techniques were reflected on, through great personalities in the field of theatre, via discussion. The selected personalities were Jouko Turkka, Antonin Artaud, Konstantin Stanislavski, Kaisa Korhonen and Bertolt Brecht. The toughness and physicality of acting played a strong role in this thesis. "Black pedagogy" was strongly criticized. The methods of Jouko Turkka were thoroughly investigated and, surprisingly to the author, turned out usable, although the author questioned the brutal ways that Turkka used them. The author carried out some of the physical exercises that corresponded to the different acting methods, and did "human tests" to understand the true meaning of the methods. Antonin Artaud abandoned all of his past life and sacrificed himself to art, which the author refuses to even consider it. The author found a soul-mate in Kaisa Korhonen and agreed with most of her methods. Many people who had worked with Kaisa Korhonen were interviewed to find out if she actually used the techniques. The author debated objectivity with Bertolt Brecht but, whereas Brecht saw it as the basis of everything, the author couldn't even consider it a usable technique. The author also had a discussion with Konstantin Stanislavski concerning the basics of acting, the study of singing, dancing and oral expression, and other beneficial skills. In the end, the author put herself on a plate, chopped herself into tiny pieces, started to study the pieces, and found out how she became as she is.

The Analysis of The Logistics Process between Finland and Russia in An EMS Company

Työn tavoitteena oli selventää Elcoteqin Suomen ja Venäjän välisten yksiköiden logistista prosessia ja erityisesti siihen liittyviä ongelmia. Työ on tehty Elcoteqin Engineering Services yksikköön, jossa ei tyypillisesti ole ollut asiaan liittyvää tietoa. Pääasiallisena työmenetelmänä olivat haastattelut sekä tutustuminen logistiseen putkeen käytännössä. Myös kirjallisuudella oli oma osansa, sekä tullaukseen että asiaan liittyvien teorioiden osalta. Teorioita ja käytännön kokemuksia yhdistäen edettiin analysointiin ja vertailuun, jonka perusteella annettiin suosituksia tulevia projekteja silmällä pitäen. Myös tulevaisuuden odotuksia on käsitelty yleisellä tasolla, lähinnä liittyen erilaisten kehitysohjelmien tarjoamiin mahdollisuuksiin. Logistiikka Suomen ja Venäjän välillä on huomattavasti monimutkaisempaa kuin ensisilmäyksellä näyttää. Ongelmia on niin rajanylityksen, tullauksen kuin lisenssiprosessinkin kanssa. Asioiden kehittämiseksi on kuitenkin paljon tehtävissä, kehityspotentiaali on valtava. Vahvaa panostusta liiketoiminnan kehittämiseksi Venäjällä on jatkettava, vaikka siihen liittyvät ongelmat välillä tuntuvatkin ylivoimaisen suurilta. Erityisen turhauttavia ovat asiat, joihin ei pystytä vaikuttamaan. Työn edetessä tuli kuitenkin esiin uusia näkökulmia, joita ei aiemmin ole otettu huomioon. Tuotteiden valintaan on jatkossa kiinnitettävä enemmän huomiota. Silti myös kuljetuksen ja rajanylityksen nopeuttamisen tutkimista on edelleen jatkettava.

Evolution and Stellar Content of AGN Host Galaxies

In this dissertation, Active Galactic Nuclei (AGN) and their host galaxies are discussed. Together with transitional events, such as supernovae and gamma-ray bursts, AGN are the most energetic phenomena in the Universe. The dominant fraction of their luminosity originates from the center of a galaxy, where accreting gas falls into a supermassive black hole, converting gravitational energy to radiation. AGN have a wide range of observed properties: e.g. in their emission lines, radio emission, and variability. Most likely, these properties depend significantly on their orientation to our line-of-sight, and to unify AGN into physical classes it is crucial to observe their orientation-independent properties, such as the host galaxies. Furthermore, host galaxy studies are essential to understand the formation and co-evolution of galactic bulges and supermassive black holes. In this thesis, the main focus is on observationally characterizing AGN host galaxies using optical and near-infrared imaging and spectroscopy. BL Lac objects are a class of AGN characterized by rapidly variable and polarized continuum emission across the electromagnetic spectrum, and coredominated radio emission. The near-infrared properties of intermediate redshift BL Lac host galaxies are studied in Paper I. They are found to be large elliptical galaxies that are more luminous than their low redshift counterparts suggesting a strong luminosity evolution, and a contribution from a recent star formation episode. To analyze the stellar content of galaxies in more detail multicolor data, especially observations at blue wavelengths, are essential. In Paper III, optical - near-infrared colors and color gradients are derived for low redshift BL Lac host galaxies. They show bluer colors and steeper color gradients than inactive ellipticals which, most likely, are caused by a relatively young stellar population indicating a different evolutionary stage between AGN hosts and inactive ellipticals. In Paper II, near-infrared imaging of intermediate redshift radio-quiet quasar hosts is used to study their luminosity evolution. The hosts are large elliptical galaxies, but they are systematically fainter than the hosts of radio-loud quasars at similar redshifts, suggesting a link between the luminosity of the host galaxies and the radio properties of AGN. In Paper IV, the characteristics of near-infrared stellar absorption features of low redshift radio galaxies are compared with those of inactive early-type galaxies. The comparison suggests that early-type galaxies with AGN are in a different evolutionary stage than their inactive counterparts. Moreover, radio galaxies are found to contain stellar populations containing both old and intermediate age components.

VIX as a stock market indicator

The goal of this research was to make an overall sight to VIX and how it can be used as a stock market indicator. Volatility index, often referred as the fear index, measures how much does it cost for investor to protect his/hers S&P 500 position from fluctuations with options. Over the relatively short history of VIX it has succesfull timing coordinator and it has told about the market state adding its own psychological view of the amount of fear and greed.

Is it possible to utilize VIX for a profitable trading strategy of S&P 500 Index?

The goal of this research was to make an overall sight to VIX® and how it can be used as a stock market indicator. Volatility index often referred as the fear index, measures how much it costs for investor to protect his/her S&P 500 position from fluctuations with options. Over the relatively short history of VIX it has been a successful timing coordinator and it has given incremental information about the market state adding its own psychological view of the amount of fear and greed. Correctly utilized VIX information gives a considerable advantage in timing market actions. In this paper we test how VIX works as a leading indicator of broad stock market index such as S&P 500 (SPX). The purpose of this paper is to find a working way to interpret VIX. The various tests are made on time series data ranging from the year 1990 to the year 2010. The 10-day simple moving average strategy gave significant profits from the whole time when VIX data is available. Strategy was able to utilize the increases of SPX in example portfolio value and was able to step aside when SPX was declining. At the times when portfolio was aside of S it was on safety fund like on treasury bills getting an annual yield of 3 percent. On the other side just a static number’s of VIX did not work as indicators in a profit making way.

Matin Maija

Suomalainen kansanlaulu.

Modeling of electrolyte sorption – from phase equilibria to dynamic separation systems

In this thesis, general approach is devised to model electrolyte sorption from aqueous solutions on solid materials. Electrolyte sorption is often considered as unwanted phenomenon in ion exchange and its potential as an independent separation method has not been fully explored. The solid sorbents studied here are porous and non-porous organic or inorganic materials with or without specific functional groups attached on the solid matrix. Accordingly, the sorption mechanisms include physical adsorption, chemisorption on the functional groups and partition restricted by electrostatic or steric factors. The model is tested in four Cases Studies dealing with chelating adsorption of transition metal mixtures, physical adsorption of metal and metalloid complexes from chloride solutions, size exclusion of electrolytes in nano-porous materials and electrolyte exclusion of electrolyte/non-electrolyte mixtures. The model parameters are estimated using experimental data from equilibrium and batch kinetic measurements, and they are used to simulate actual single-column fixed-bed separations. Phase equilibrium between the solution and solid phases is described using thermodynamic Gibbs-Donnan model and various adsorption models depending on the properties of the sorbent. The 3-dimensional thermodynamic approach is used for volume sorption in gel-type ion exchangers and in nano-porous adsorbents, and satisfactory correlation is obtained provided that both mixing and exclusion effects are adequately taken into account. 2-Dimensional surface adsorption models are successfully applied to physical adsorption of complex species and to chelating adsorption of transition metal salts. In the latter case, comparison is also made with complex formation models. Results of the mass transport studies show that uptake rates even in a competitive high-affinity system can be described by constant diffusion coefficients, when the adsorbent structure and the phase equilibrium conditions are adequately included in the model. Furthermore, a simplified solution based on the linear driving force approximation and the shrinking-core model is developed for very non-linear adsorption systems. In each Case Study, the actual separation is carried out batch-wise in fixed-beds and the experimental data are simulated/correlated using the parameters derived from equilibrium and kinetic data. Good agreement between the calculated and experimental break-through curves is usually obtained indicating that the proposed approach is useful in systems, which at first sight are very different. For example, the important improvement in copper separation from concentrated zinc sulfate solution at elevated temperatures can be correctly predicted by the model. In some cases, however, re-adjustment of model parameters is needed due to e.g. high solution viscosity.

Skill Development in Music Reading. The Eye-Movement Approach

This dissertation examined skill development in music reading by focusing on the visual processing of music notation in different music-reading tasks. Each of the three experiments of this dissertation addressed one of the three types of music reading: (i) sight-reading, i.e. reading and performing completely unknown music, (ii) rehearsed reading, during which the performer is already familiar with the music being played, and (iii) silent reading with no performance requirements. The use of the eye-tracking methodology allowed the recording of the readers’ eye movements from the time of music reading with extreme precision. Due to the lack of coherence in the smallish amount of prior studies on eye movements in music reading, the dissertation also had a heavy methodological emphasis. The present dissertation thus aimed to promote two major issues: (1) it investigated the eye-movement indicators of skill and skill development in sight-reading, rehearsed reading and silent reading, and (2) developed and tested suitable methods that can be used by future studies on the topic. Experiment I focused on the eye-movement behaviour of adults during their first steps of learning to read music notation. The longitudinal experiment spanned a nine-month long music-training period, during which 49 participants (university students taking part in a compulsory music course) sight-read and performed a series of simple melodies in three measurement sessions. Participants with no musical background were entitled as “novices”, whereas “amateurs” had had musical training prior to the experiment. The main issue of interest was the changes in the novices’ eye movements and performances across the measurements while the amateurs offered a point of reference for the assessment of the novices’ development. The experiment showed that the novices tended to sight-read in a more stepwise fashion than the amateurs, the latter group manifesting more back-and-forth eye movements. The novices’ skill development was reflected by the faster identification of note symbols involved in larger melodic intervals. Across the measurements, the novices also began to show sensitivity to the melodies’ metrical structure, which the amateurs demonstrated from the very beginning. The stimulus melodies consisted of quarter notes, making the effects of meter and larger melodic intervals distinguishable from effects caused by, say, different rhythmic patterns. Experiment II explored the eye movements of 40 experienced musicians (music education students and music performance students) during temporally controlled rehearsed reading. This cross-sectional experiment focused on the eye-movement effects of one-bar-long melodic alterations placed within a familiar melody. The synchronizing of the performance and eye-movement recordings enabled the investigation of the eye-hand span, i.e., the temporal gap between a performed note and the point of gaze. The eye-hand span was typically found to remain around one second. Music performance students demonstrated increased professing efficiency by their shorter average fixation durations as well as in the two examined eye-hand span measures: these participants used larger eye-hand spans more frequently and inspected more of the musical score during the performance of one metrical beat than students of music education. Although all participants produced performances almost indistinguishable in terms of their auditory characteristics, the altered bars indeed affected the reading of the score: the general effects of expertise in terms of the two eye- hand span measures, demonstrated by the music performance students, disappeared in the face of the melodic alterations. Experiment III was a longitudinal experiment designed to examine the differences between adult novice and amateur musicians’ silent reading of music notation, as well as the changes the 49 participants manifested during a nine-month long music course. From a methodological perspective, an opening to research on eye movements in music reading was the inclusion of a verbal protocol in the research design: after viewing the musical image, the readers were asked to describe what they had seen. A two-way categorization for verbal descriptions was developed in order to assess the quality of extracted musical information. More extensive musical background was related to shorter average fixation duration, more linear scanning of the musical image, and more sophisticated verbal descriptions of the music in question. No apparent effects of skill development were observed for the novice music readers alone, but all participants improved their verbal descriptions towards the last measurement. Apart from the background-related differences between groups of participants, combining verbal and eye-movement data in a cluster analysis identified three styles of silent reading. The finding demonstrated individual differences in how the freely defined silent-reading task was approached. This dissertation is among the first presentations of a series of experiments systematically addressing the visual processing of music notation in various types of music-reading tasks and focusing especially on the eye-movement indicators of developing music-reading skill. Overall, the experiments demonstrate that the music-reading processes are affected not only by “top-down” factors, such as musical background, but also by the “bottom-up” effects of specific features of music notation, such as pitch heights, metrical division, rhythmic patterns and unexpected melodic events. From a methodological perspective, the experiments emphasize the importance of systematic stimulus design, temporal control during performance tasks, and the development of complementary methods, for easing the interpretation of the eye-movement data. To conclude, this dissertation suggests that advances in comprehending the cognitive aspects of music reading, the nature of expertise in this musical task, and the development of educational tools can be attained through the systematic application of the eye-tracking methodology also in this specific domain.

”Du sköna sång, vårt bästa arv” - kanonisering av en sångskatt ur ett hermeneutiskt perspektiv

Songs have the power to get through to people. When lyrics are combined with a tune, the result is an entity where the first few notes of a melody can evoke emotions of recognition and belonging. A song treasury consists of such songs that are part of a canonized song tradition. The process where certain songs become part of an established song treasury is long, and many other aspects than the tune itself influence the forming of a song treasury. By examining the characteristics of a song tradition, the history of an ethnic group can be illuminated. In this study, music, pedagogy, and the sociocultural context are merged into a whole where a common song tradition, the song treasury, is in focus. The main aim of this study is to deepen the understanding of a song treasury, its development and contents. This understanding is accomplished by analyzing the musical and lyrical characteristics of 60 songs, which have been sung in schools, homes, and communities, thereby becoming popular among the Swedish-speaking Finns during the 20th century. The songs have been chosen by combining three song lists, of which two lists are closely related to school curricula. The third song list is a result of a survey on favourite songs, according to the situation around year 2000. The songs are examined in their notated versions, a number of song books and text books (n = 29) forming the empirical material. In this study, a hermeneutical approach is applied, content analysis being the method. The analysis is based on three perspectives: the sociocultural perspective, the music-pedagogical perspective, and the musico-analytical perspective. Within each perspective, two aspects are studied. This results in a hexagonal model which forms the structure of the study as a whole. The first two perspectives form the background; a historical context where nation, education, home country, and homestead are regarded as highly important. A common song repertoire is considered to be an effective means of building collective identity within ethnic groups, the common language and the cultural heritage being used as rhetorical arguments. During the early 1900s, choir festivals become an educational platform where conceptions of a common belonging are developed and strengthened through religious, patriotic, and poetical expressions. National school curricula in singing and music have similar characteristics, cultural heritage and values education being in focus. The song lyrics often describe nature and emotions, and they also appear to be personal and situated in a given time and place. Patriotic expressions and songs about music are also fairly common. The songs generally express positive attitudes, which are intensified by major tonality, rich and varied melodies with stable rhythms, and a strong tonal base. The analyzed details of the studied aspects are merged into a thick description, which results in an interpretation pattern with three dimensions: a song treasury can be considered an expression of collective identity, cultural heritage, and values education.