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.

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

Innovation – from individual intuition to collaborative innovation. The role of individual key actor in facilitation of innovation in large organization context

The objective of this research was to study the role of key individuals in facilitation of technology enabled bottom-up innovation in large organization context. The development of innovation was followed from the point of view of individual actor (key individual) in two cases, through three levels: individual, team and organization, by using knowledge creation and innovation models. This study provides theoretical synthesis and framework through which the study is driven. The results of the study indicate, that in bottom-up initiated innovations the role of key individuals is still crucial, but innovation today is collective effort and there acts several entrepreneurial key individuals: innovator, user champion and organizational sponsor, whose collaboration and developing interaction drives innovation further. The team work is functional and fluent, but it meets great problems in interaction with organization. The large organizations should develop its practices and ability to react on emerging bottom-up initiations, in order to embed innovation to organization and gain sustainable innovation. In addition, bottom-up initiated innovations are demonstrations of peoples knowing, tacit knowledge and therefore renewing of an organization.

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.

Kun pelko astuu lavalle : eli kuinka opin elämään esiintymisjännityksen kanssa

This thesis focuses on stage fright; what it is and how to find the ideal solution in connection with stage fright. To find the way toward free expression; to find the way from lack of control to con-trol. It also describes how to learn to live with stage fright. Different experiences of stage fright have been used as source material, along with relevant theoretical information. The thesis highlights the importance of handling stage fright and studies stage fright in-depth, with examples. It presents studies and collected theories according to Päivi Arjas. It discusses presence and contact in the work of an actor with reference to the Gestalt method. It also presents methods of reducing stage fright. Ideal presence on stage is addressed, and how to turn stage fright into a positive thing. Finally, it considers the good aspects of stage fright in more deepth and goes through learning to live with stage fright. The thesis concludes that it is possible to heal stage fright. Gestalt methodology was of assistance with the healing process, with becoming conscious of symptoms, and thus in finding one's own way of turning anxious suspense into a positive way forward.

Kaksoiselämäni teatteritaiteen palveluksessa : ammatti-identiteettini rakennuselementit

In my thesis I discuss the elements of my professional identity from the perspective of an actor, a director and a team. What are acting and directing to me? What are the problems in the symbiosis of acting and directing? What are the difficulties in acting and directing and how important are the issues related to responsibility, power, trust and confidence in my work? I also discuss the consept of self-confidence. Behind all of this, there is also the thought of my ancestry and its dualism, how my roots from my father's and mother's side are struggling against each other or supporting each other, and how they affect my professional identity. The basic idea in the present thesis is the perspective of the traditional theatre and a professional team. Also the childhood influence on my professional identity is being considered. Education is discussed at the end. Moreover, a discussion on the kind of future theatre maker I want to be considered as, is included. I also try to handle all these topics through Harri Virtanen's Kiinteistövälittäjä vastoin tahtoaan (2005), which I directed, and my latest role in Arto Paasilinna's and Kristian Smeds' Jäniksen vuosi (2006). The conclusion of the present thesis is that it is very important for me to be a member of different communities, in which I can express my professional identity. My professional identity is formed by many elements that support each other. Such elements in their own right form an inticate relationship, which at the end, makes me what I am. In conclusion, I am a theatre maker, who in an alternative field of theater has opportunities to form the professional identity, as different situations and projects require.

Oppimistehtaan toimintamallin kehittäminen

Educaworks Oy on toiminut viisi vuotta oppimistehtaana, jonka omistajia ovat olleet yritykset ja oppilaitokset. Yrityksen pääasiallisia työntekijöitä ovat tähän mennessä olleet ammattiopiston työssäoppijat ja parina viimeisenä vuotena on yrityksellä ollut palkkalistoillaan omia työntekijöitä. Tässä työssä luotiin vaihtoehtoja Educaworks Oy:n tulevalle toiminnalle lähtien siitä, että tämä nykyinen toimintamalli on tullut tiensä päähän ja tarvitaan uusi malli toiminnan jatkamiselle.Työssä haettiin hyviä käytäntöjä Suomesta benchmarkingin avulla. Näiden mallienvahvuuksia hyödyntämällä pystyttiin kehittämään vaihtoehto Educaworks Oy:n tulevalle toiminnalle. Tämä malli, oppimistehdas osana osaamiskeskittymää, valittiin toteutettavaksi kolmesta eri vaihtoehdosta, joista kaksi muuta olivat oppimistehdas yrityksenä ja oppimistehdas osana koulutusorganisaatiota. Valitussa vaihtoehdossa hyödynnetään Savonia-ammattikorkeakoulun suunnitteilla olevaa EducaTech Center-hanketta, jossa on tarkoitus luoda Iisalmeen teknologiateollisuuden osaamiskeskittymä seuraavan EU-kauden 2007-2013 aikana. Valitussa mallissa Educaworks Oy hyödyntää tulevassa toiminnassaan tämän osaamiskeskittymän uutta kone- ja laitekantaa sekä tekee yhteistyötä keskittymän tutkimus- ja tuotekehityshenkilökunnan kanssa. Yritykset pääsevät parhaiten osallisiksi Educa Tech Center osaamiskeskittymän tuottamista palveluista hankkimalla Educaworks Oy:n osakkeita ja pääsemällä täten keskittymän ytimeen sen tuotannollisen toimijan, Educaworks Oy:n, avulla. Educaworks Oy toimii tässä keskittymässä komponenttitoimittajan roolissa ollen malli komponenttitoimittajasta muillealueella oleville vastaaville verkostoissa toimiville yrityksille. Educaworks Oy:n toiminnan toisena periaatteena tulee olemaan työssäoppiminen. Työssäoppiminen on tänä päivänä osa ammatillista koulutusta ja sen merkityskorostuu yhä enemmän, koska oppilaat tulevat opiskelemaan tänä päivänä monesti lähtökohdista, joissa heillä ei ole ollut mahdollisuutta harjoittaa käytännön taitojaan ennen ammatillisten opiskelujen aloittamista. Työpaikoilla ei ole vielä kovin hyvää valmiutta toteuttaa sitä opetushallituksen tavoitetta, että oppilaatoppisivat työssäoppimisjaksoilla uusia asioita ohjatusti. Työpaikoilta puuttuu työssäoppimisen ohjaajat ja oppilaiden tekemät harjoitteet ovat liian monta kertaa ammatillisesti kovin vaatimattomia jäysteenpoisto- tai kappaleenvaihtotöitä koneistuksesta puhuttaessa. Tässä työssä luodaan mallia oppilaiden ohjatulle työssäoppimiselle tehtyjen tieteellisten tutkimusten pohjalta. Tavoitteena on, että Educaworks Oy:ssä pystyttäisiin jatkossa kouluttamaan myös muiden alueen teknologiateollisuuden yritysten työntekijöitä toimimaan työssäoppimisen ohjaajina.

Hiilidioksidipäästöjen päästöoikeuksien markkinat ja niillä toimiminen

Pro gradu -tutkielmassa johtoajatuksena oli pohtia hiilidioksidin päästöoikeuden markkinahinnan muodostumista ja hinnanmuutoksen vaikutuksia yksittäisen päästökaupassa mukana olevan toiminnanharjoittajan tilinpäätökseen. Työssä tarkasteltiin Euroopan unionin ensimmäisen päästökauppakauden 2005-2007 päästöoikeusmarkkinoiden muodostumista olemassa olevien ja olleiden järjestelmien perusteella. Tutkielman kokeellisessa osuudessa tavoite oli selvittää päästökauppatoimijalle taloudellisesti edullisin toimintamalli muodostumassa olevilleEuroopan unionin päästöoikeusmarkkinoille. Esimerkkiyritys toimi päästöoikeuksien ostajana markkinoilla. Toimintamallien testaus suoritettiin laskuesimerkein, joissa lähtöarvoina olivat toimijalle ilmaiseksi annetut päästöoikeudet, päästökauppa-kaudella laaditut tilinpäätökset sekä toimijan vuotuiset ennustetut päästöt. Laskelmissa oletettiin päästöoikeusmarkkinoiden olevan täydelliset. Hintataso-tarkastelu suoritettiin kahdella hintatasomallilla, joiden herkkyysanalyysissä vuoden 2007 hintataso toteutui päinvastoin kuin mallissa oletettiin. Laskelmissamielenkiinnon kohteina olivat päästökaupan vaikutukset tiettyihin taseen ja tuloslaskelman eriin, kun päästöoikeuksia joudutaan ostamaan markkinoilta oikeuksien hinnan vaihdellessa. Kun päästöoikeuksien hinta muuttuu, ceteris paribus, päästöoikeuksien arvo taseessa muuttuu: oikeuksien uudelleenarvotus tilinpäätöspäivänä joko lisää tai vähentää tilikauden tulosta. Koska tilikauden voitto on taseen vastattavaa puolen omaa pääomaa, vaikuttaa voiton muutos myös taseen loppusummaan. Päästökauppa vähentää varoja yrityksen kassasta, kun yritys on ostajan asemassa päästöoikeusmarkkinoilla.

Osuustoimintaorganisaation yhteiskuntavastuu - Case: S-ryhmä

Tutkielman tarkoituksena on tutkia, miten yhteiskuntavastuullinen toiminta ja sidosryhmäjohtaminen ilmenevät osuustoiminnallisessa organisaatiossa. Tutkielman tavoitteena on ymmärtää, miten vastuullisuus muodostuu, ja miten sidosryhmänäkökulma liittyy vastuullisuuden toteuttamiseen osuuskunnan kontekstissa. Kohdeorganisaationa tutkielmassa on S-ryhmä. Tutkimus on luonteeltaan laadullinen ja tutkimusmenetelmänä on käytetty diskurssianalyysia. Tutkimusaineisto koostuu vuosilta 2000-2005 kerätyistä SOK-yhtymän sekä osuuskauppojen vuosikertomuksista ja vastuullisuusraporteista, S-ryhmän henkilöstölehti Ässästä sekä asiakasomistajille suunnatusta Yhteishyvä-lehdestä. Tutkimustulokset osoittavat, että S-ryhmän vastuullisuudesta ja sidosryhmäsuhteista kertominen jakautuvat neljään eri diskurssiin: "Osuuskunta mukana ihmisten arjessa", "Osuuskunta alueellisena toimijana", "Osuuskunta asiakasomistajien palvelijana" sekä "Osuuskunta tuloksellisena toimijana". S-ryhmän vastuullisuutta kuvaa tulosten perusteella osuustoiminnallisten arvojen toteuttaminen, alueellisen vastuullisuuden vahva painotus, asiakasomistajasuhteidentärkeys sekä toiminnan jatkuvuudesta huolehtiminen.

Distribution systems of the food sector in Russia: the perspective of Finnish food industry

Finnish food producers' trade with Russia has experienced profound changes since the collapse of the Soviet Union. Simultaneously, the distribution systems of foodstuffs have changed remarkably. This study sheds some light into these changes and analyses the current situation in distribution systems of foodstuffs in Russia. In addition, the study discusses the possibilities of Finnish food producers to get more of their products to the shelves of Russian food retail stores. Before the 1998 financial crisis, the import of foreign foodstuffs was booming in Russia due to the overvalued rouble. As a result of the financial crisis, food import collapsed. The export of Finnish foodstuffs to Russia has been slowly recovering during the past few years, but in the most important product categories the pre-crisis levels have so far not been reached and maybe will not be reached. In certain product categories the growth has been only marginal. It seems that starting localproduction will become increasingly important in the future. This is further encouraged by the fact that Russian consumers favour domestic food products. Russian consumers are very price conscious and demand quality in food products. The perceived price-quality ratio is an important criterion in the purchase decision.The majority of foodstuff retail is still conducted via unorganised forms of trade (e.g. kiosks and marketplaces) but modern retail chains are developing at a fast pace in Russia. They are also expected to dominate the retail trade in foodstuffs over the unorganised forms of trade in the future. This will change the distribution systems as well. The retail chains are trying to shorten the distribution chain, similarly to what has been seen in the Western countries. This together with the strengthening of retail chains is likely to shrink the role of wholesalers, as the chains increasingly want to work directly with the producers. Many large retail chains are acquiring or have already acquired a distribution centre or centres in order to boost efficiency and control the flow of products. The strengthening of the retail chains also gives them power in negotiations, which the producers and distributors have to adjust to. For example store entry fees and retail chains' own private label products pose challenges to the food producers. In the food production sector the competition is fierce, as large Russianand foreign producers want to ensure their piece of the market. The largest producers utilise their size: they invest in big marketing campaigns and are willing to pay high entry fees to retail chains in order to secure a place on the store shelves and to build a strong brand in Russia. This complicates the situation from the viewpoint of small producers. Currently, the most popular type of distribution system among the interviewed Finnish food producers is based on a network of local distributors. There is, however, a strong consensus on the importanceof starting local production in order to be a serious actor in Russia in the future. Factors that hinder the starting of local production include the lack of local infrastructure and qualified staff, and the low risk tolerance of Finnish firms. Major barriers for entry in Russia are the actions of authorities, fierce competition, fragmented market and Finnish producers' heavy production costs. The suggested strategies for increasing the market share include focusing geographically or segment-wise, introducing new products, starting local production, andcooperation between Finnish producers. Smallness was one reason why Finnish producers had to cut down their operations in Russia due to the 1998 crisis. Smaller producers had fewer resources to tolerate losses during the period of crisis. Smallness is reflected also on trade negotiations with retail chains and distributors. It makes it harder to cope with the store entry fees and to differentiatefrom the mass of products propped up by expensive advertising. Finally, it makes it harder for Finnish producers to start or expand local production, as it is more difficult for a small producer to get financing and to tolerate the increased risks. Compensating for the smallness might become the crucial factor determining the future success of Finnish food producers in the Russian market.

The role of Bluetooth technology in transforming the value network of ICT industry

Tutkimuksen tavoitteena oli selvittää miten Bluetooth-teknologia voi vaikuttaa ICT-alan arvoverkkoon ja alan toimijoiden rooleihin. Tutkimuksessa käytettiin kvalitatiivisia menetelmiä ja siinä oli piirteitä tulevaisuuden tutkimuksesta, koska myös eksploratiivisia menetelmiä käytettiin. Tutkimus perustui laajalti kirjallisuuteen ja artikkeleihin, joiden perusteella muodostettiin skenaarioita ICT-alan tulevaisuuden arvoverkosta. Tutkimus sisälsi myös empiirisen osion, jossa järjestettiin kaksi ryhmäkeskustelua, joissa alan toimijat keskustelivat muodostetuista skenaarioista sekä yleisemmin Bluetoothin vaikutuksista arvoverkkoon. Tutkimuksen mukaan ICT-alan arvoverkko tulevaisuudessa on rakenteeltaan strateginen arvoverkko, jota johtaa eri toimija erilaisissa markkinatilanteissa. Verkon strateginen keskus voi muuttua ajan kuluessa kun Bluetoothin sovelluskohteet lisääntyvät ja se voi vaihdella markkina-alueesta toiseen. Bluetooth luo uuden kommunikaatiokanavan nykyisten rinnalle ja se voi paikallisesti korvata nykyisten kanavien käytön tiedon siirrossa. Bluetooth voi synnyttää lukuisia uusia liiketoimintamahdollisuuksia ja sen avulla voidaan tuottaa lisäarvopalveluita. Suurimpien muutosten voidaan olettaa koskevan teleoperaattoreiden ja sisällöntuottajien liiketoimintaa.