Musiikkivideo musiikin ja laululyriikan näkökulmasta : kappaleen tulkintakeinoja audiovisuaalisen kokonaisuuden saavuttamiseksi musiikkivideoilmaisussa

Opinnäytetyöni on monimuototyö. Sen teososa on Ratas-yhtyeen musiikkivideo Mustavalkoinen maa. Toimin teososassani musiikkivideon käsikirjoittajana, ohjaajana, kuvaajan ja leikkaajana. Olen myös itse säveltänyt ja sanoittanut musiikin sekä soitan mukana yhtyeessä. Työ on hankkeistettu Pajula Records Oy:lle. Opinnäytetyössäni etsin keinoja audiovisuaalisen kokonaisuuden saavuttamiseksi musiikkivideoilmaisussa. Näkemykseni mukaan musiikkivideot ovat usein vain kappaleiden visuaalista täytettä, eivätkä vastaa tunnelmaltaan tai kuvaukseltaan musiikkia. Tilaajan näkökulma on usein kaupallinen, minkä johdosta musiikkivideo tehdään ulkomusiikillisten arvojen sanelemana. Opinnäytetyössäni etsin keinoja kuvan ja musiikin yhteisen sävelen musiikkivideoilmaisussa nimenomaan kappaleen näkökulmasta katsottuna. Tutkin käsitettä lyyrinen kamera, joka kuvaa kameran liikkeitä tekstissä ja käsittelen draaman rakenteen hahmottamista laululyriikassa. Etsin kuvallisia tulkintakeinoja musiikin rakenteista ja tutkin eri musiikkityyleihin yhdistettäviä tunnetiloja ja synestesian color-hearing käsitettä. Esittelen ensin muutamia konkreettisia tulkintakeinoja ja sitten sovellan käytännössä niitä teososani analyysissä. Tutkin myös teososan työprosessin aikana sitä, mitä mahdollisia hyötyjä on siitä, että koko projektista vastaa yksi henkilö.

Målarpoeten Ellen Thesleff : teknik och konstnärligt uttryck

The aim of this thesis has been to illustrate the multifaceted talent in Ellen Thesleff's (1869 - 1954) work with particular emphasis on her technique and artistic expression. Why did Ellen Thesleff work withso many techniques? How did the technique affect the expression and what characterizes it? It would also be of interest to gather some idea of Ellen Thesleff's position among other artists. The investigation covers a representative selection of about 60 pictures, using nine different techniques, primarily as oils, woodcuts and monumental painting. The pictures illustrate three periods of time, the natural (1890 - 1905), the colourful (1906 - 1927) and the free period (1928 -1950). I describe the pictures in regard to their conception and subject matter and scrutinize their formal creation. Thereafter, I investigate the painting technique and artistic expression of each picture and position it, where applicable, in relation to other art. Ellen Thesleff's artistic quality is discussed in relation to her techniques and expression. Thesleff consciously chooses different techniques for related subjects in order to vary the expression. The progressing evolution within individual techniques and a cross-fertilization between them has evidently contributed to raising her artistic quality. I have studied how the techniques influence expression and found it possible to identify certain characteristic styles during the three periods: first a natural painting technique which reminds one of both French realism, paintings reflecting the Nordic mood and atmosphere, and symbolism, ascetism and synthetism; later an expressive Thesleff colourism with brilliant over- and underpainting in contrasting colours and last a free decorative painting in lines, with symbolistic undertones. Most characteristic is the lyrical expression which seems to be a common theme throughout Thesleff's entire artistry. I have found that Ellen Thesleff in her works had herown personal style compared to her contemporaries. Despite deep knowledge of styles and techniques she continually creates art from her inner self and with her own personal brush signature.

”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.