Sea pieces, Op. 55

Soitinnus: Piano.

"...se kaikki kansat yhdistää"

Kirjallisuusarvostelu

Siirtolaisen meno : Immigrant's Departure.

Sävelmän alkuperä tuntematon.

Siirtolaisen paluu : Immigrant's Return.

Sävelmän alkuperä tuntematon.

Orpopojan valssi

Alkuperäislevy on HMV X2381.

Immateriellt kulturarv som begrepp och process : folkloristiska perspektiv på kulturarv i Finlands svenskbygder med folkmusik som exempel

Cultural heritage has become something of an in-word in recent times. Intangible cultural heritage, however, is a category that has received relatively little attention. This folkloristic study focuses on intangible cultural heritage as concept and as process. Folkloristics as a scholarly branch emphasizes non-material culture. Consequently, there is a big potential in bringing existing knowledge of folklore together with current scholarly theories concerning cultural heritage in order to expand the understanding of intangible cultural heritage. In this thesis cultural heritage is regarded as a symbolic construct, which is spoken of and discussed in specific ways. The study of intangible cultural heritage (Swe. kulturarv) as concept focuses on this area. For a cultural component to be experienced as intangible cultural heritage it is, however, not enough to discuss it in those terms. Instead, cultural heritage status needs to be acted out during lengthy processes. This is demonstrated by the study of intangible cultural heritage as process. As a consequence performativity appears crucial to an understanding of cultural heritage – when a sufficient number of people speak and act as if a cultural component has a special status, it will also be perceived as cultural heritage. In this dissertation intangible cultural heritage is studied through cultural analysis, more specifically through discourse analysis. The usage of the concept intangible cultural heritage within cultural organizations, in scholarly use and in the Swedish-speaking press in Finland is examined. Traditional music in the Swedish-speaking districts of Finland is used as a case study of intangible cultural heritage as process. The examination concerns how traditional music, an intangible cultural component, has been discussed, transformed, standardized and objectified in a cultural heritage process. Cultural heritage is generally used as a token of value so that certain cultural components, both intangible and tangible, which are discussed in terms of cultural heritage are perceived to be valuable and should therefore be safeguarded. Intangible cultural heritage depends on performance, that is practitioners use their bodies to act out their traditional knowledge through song, handicraft, storytelling and so on. Intangible cultural components can be transmitted to other individuals in a performance situation, and they can also be documented. In Finland documentation and subsequent filing in archives have been associated with safeguarding of intangible cultural heritage. If the aim of safeguarding is to uphold traditional practices, which is the case for among others UNESCO’s programs aimed at intangible cultural heritage, other efforts are called for: forms of safeguarding that support performance and transmission.

Kuuliaset Kottilassa

Kansansävelmä.

Helmi ja Kalle

Comic song.

Euroviisut kulttuurien välisen ymmärryksen avaimena

Kirjallisuusarvostelu

Extraction of polymeric galactoglucomannans from spruce wood by pressurized hot water

The major type of non-cellulosic polysaccharides (hemicelluloses) in softwoods, the partly acetylated galactoglucomannans (GGMs), which comprise about 15% of spruce wood, have attracted growing interest because of their potential to become high-value products with applications in many areas. The main objective of this work was to explore the possibilities to extract galactoglucomannans in native, polymeric form in high yield from spruce wood with pressurised hot-water, and to obtain a deeper understanding of the process chemistry involved. Spruce (Picea abies) chips and ground wood particles were extracted using an accelerated solvent extractor (ASE) in the temperature range 160 – 180°C. Detailed chemical analyses were done on both the water extracts and the wood residues. As much as 80 – 90% of the GGMs in spruce wood, i.e. about 13% based on the original wood, could be extracted from ground spruce wood with pure water at 170 – 180°C with an extraction time of 60 min. GGMs comprised about 75% of the extracted carbohydrates and about 60% of the total dissolved solids. Other substances in the water extracts were xylans, arabinogalactans, pectins, lignin and acetic acid. The yields from chips were only about 60% of that from ground wood. Both the GGMs and other non-cellulosic polysaccharides were extensively hydrolysed at severe extraction conditions when pH dropped to the level of 3.5. Addition of sodium bicarbonate increased the yields of polymeric GGMs at low additions, 2.5 – 5 mM, where the end pH remained around 3.9. However, at higher addition levels the yields decreased, mainly because the acetyl groups in GGMs were split off, leading to a low solubility of GGMs. Extraction with buffered water in the pH range 3.8 – 4.4 gave similar yields as with plain water, but gave a higher yield of polymeric GGMs. Moreover, at these pH levels the hydrolysis of acetyl groups in GGMs was significantly inhibited. It was concluded that hot-water extraction of polymeric GGMs in good yields (up to 8% of wood) demands appropriate control of pH, in a narrow range about 4. These results were supported by a study of hydrolysis of GGM at constant pH in the range of 3.8 – 4.2 where a kinetic model for degradation of GGM was developed. The influence of wood particle size on hot-water extraction was studied with particles in the range of 0.1 – 2 mm. The smallest particles (< 0.1 mm) gave 20 – 40% higher total yield than the coarsest particles (1.25 – 2 mm). The difference was greatest at short extraction times. The results indicated that extraction of GGMs and other polysaccharides is limited mainly by the mass transfer in the fibre wall, and for coarse wood particles also in the wood matrix. Spruce sapwood, heartwood and thermomechnical pulp were also compared, but only small differences in yields and composition of extracts were found. Two methods for isolation and purification of polymeric GGMs, i.e. membrane filtration and precipitation in ethanol-water, were compared. Filtration through a series of membranes with different pore sizes separated GGMs of different molar masses, from polymers to oligomers. Polysaccharides with molar mass higher than 4 kDa were precipitated in ethanol-water. GGMs comprised about 80% of the precipitated polysaccharides. Other polysaccharides were mainly arabinoglucuronoxylans and pectins. The ethanol-precipitated GGMs were by 13C NMR spectroscopy verified to be very similar to GGMs extracted from spruce wood in low yield at a much lower temperature, 90°C. The obtained large body of experimental data could be utilised for further kinetic and economic calculations to optimise technical hot-water extractionof softwoods.

”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.