Tehdas

Lasitehdas. Liukuhihna vinkuu, taustalla musiikkia, lopussa siirtymä ulos, auto lähtee. Skruv.

Itsenäisyyspäivän juhla Tampereen keskustorilla

Itsenäisyyspäivän juhla Tampereen keskustorilla. Yleisöhälyä, Maamme-laulu, taputuksia.

Ravintola

Ravintola. Ihmisjoukon puheensorinaa ja musiikkia. Naisia ja miehiä. Äänitetty seinän takaa.

Yön ääniä Hirosakissa

Yöllistä äänimaisemaa Hirosakin kaupungista. Musiikkia, liikennettä etäällä. Japani

Itsenäisyyspäivän juhla Tampereen keskustorilla

Itsenäisyyspäivän juhla Tampereen keskustorilla, yleisöhälyä taustalla, Finlandia-hymni, taputuksia.

Televisio

TV. 60 –luvun sarja. Alkumusiikki.

Suvivirsi

Kaarilan lukion ylioppilasjuhla. Suvivirsi ja yleisöhälyä.

”The music the world makes has no words”: Musiikillisen tradition funktiot ja merkitys Toni Morrisonin romaanissa Jazz

Pro gradu -tutkielmassani tarkastelen niitä merkityksiä, joita afrikkalaisamerikkalainen musiikillinen esitystraditio saa Nobel-kirjailija Toni Morrisonin romaanissa Jazz (1992).Morrison on toistuvasti löytänyt vertailukohdan omalle kirjoittamiselleen mustasta musiikkitraditiosta. Kuvaillessaan Jazz-romaanin luomisprosessia hän on kertonut pyrkineensä rakentamaan teoksen improvisatorisen jazz-performanssin muotoon. Tutkielmassa kysyn, millä tavalla tämä jazz-improvisatorinen kerrontamuoto ilmenee Jazz-romaanissa ja miksi musiikki ja kerronnan musiikillisuus on saanut niin merkittävän roolin afrikkalaisamerikkalaisen kirjallisuuden traditiossa. Keskeiselle sijalle tutkielmassani nousee ajatus improvisatorisesta jazz-performanssista sekä romaania ohjaavana kerronnallisena periaatteena että mustan diasporisen kulttuurin ja identiteetin rakentamisen välineenä. Tukeutumalla muun muassa Ralph Ellisonin, James Baldwinin, Albert Murrayn, Henry Louis Gates Jr:n, Houston A. Baker Jr:n, Paul Gilroyn, Kimberly W. Benstonin ja Nathaniel Mackeyn kirjoituksiin mustasta esitystraditiosta tarkastelen, mitä eri merkityksiä jazz- ja blues-musiikille on annettu afrikkalaisamerikkalaisessa kirjallisuudessa. Jazzissa musiikki toimii ensisijaisesti keinona työstää menneisyyttä: musiikillinen improvisaatio avaa tien ihmisen henkilökohtaisten muistojen ja menneisyyden konfliktien tarkastelulle. Kyse on identiteettiprosessista, joka ohjaa toistuvasti määrittelemään uudelleen ne rakenteet, joissa ihmisen minuus kehittyy. Samalla musiikillisuuden taustalta voidaan löytää pyrkimys vapauttaa teos kertovuudesta ja kohdistaa lukijan huomio tekstin tuottamaan liikkeeseen, romaaniin performanssina. Tämä ohjaa kirjallisuuden kohti rituaalista: musiikillisuuden funktiona on tuoda tarina voimakkaammin osaksi lukijan kokemuksellista nykyhetkeä. Morrisonin romaanikirjoittamista ohjaa halu kehittää jatkuvasti uusia mahdollisuuksia ymmärtää ja lähestyä menneisyyttä sekä rakentaa kriittinen suhde afrikkalaisamerikkalaista kulttuuria määrittäneisiin historiallisiin narratiiveihin. Jazzromaanin tapahtumat sijoittuvat keskelle afrikkalaisamerikkalaisen urbaanin kulttuurin ja amerikkalaisen modernismin kehityksen keskeisintä vuosikymmentä, 1920-lukua. Romaanin sisällön analyysissa tarkastelen muun muassa romaanin kaupunkitilan kuvausta ja sen kiinnittymistä urbaanin kulutuskulttuurin tuottamaan visuaaliseen spektaakkeliin. Jazzissa Morrisonin voidaan nähdä työstävän suhdetta tiettyyn historialliseen aikakauteen, joka on merkittävällä tavalla muokannut sekä afrikkalaisamerikkalaista kulttuurista yhteisöllisyyttä että tiettyjä ”mustan” tai ”mustuuden” representaatioita osana amerikkalaista urbaania ympäristöä.

Saako historiasta selvää? Monikulttuuriset yläkoululaiset historian lähteillä historian taidot motiivien, seurauksien, historian tulkintojen ja lähteiden luotettavuuden arvioinneissa

The research assesses the skills of upper comprehensive school pupils in history. The focus is on locating personal motives, assessing wider reasons hidden in historical sources and evaluating source reliability. The research also questions how a wide use of multiple sources affects pupils’ holistic understanding of historical phenomena. The participants were a multicultural group of pupils. The origins of their cultures can be traced to the Balkan, the Middle East, Asia and Europe. The number of native Finnish speakers and pupils speaking Finnish as their second language was almost equal. The multicultural composition provides opportunities to assess how culturally responsive learning history from sources is. The intercultural approach to learning in a multicultural setting emphasizes equality as a precondition for learning. In order to set assignments at least to some extent match with all participants only those answers were taken into account which were produced by pupils who had studied history for a similar period of time in the Finnish comprehensive school system. Due to the small number of participants (41), the study avoids wide generalizations. Nevertheless, possible cultural blueprints in pupils’ way of thinking are noted. The first test examined the skills of pupils to find motives for emigration. The results showed that for 7th graders finding reasons is not a problematic task. However, the number of reasons noticed and justifications varied. In addition, the way the pupils explained their choices was a distinguishing factor. Some pupils interpreted source material making use of previous knowledge on the issue, while other pupils based their analysis solely on the text handed and did not try to add their own knowledge. Answers were divided into three categories: historical, explanatory and stating. Historical answers combined smoothly previously learned historical knowledge to one’s own source analysis; explanatory answers often ignored a wider frame, although they were effective when explaining e.g. historical concepts. The stating answers only noticed motives from the sources and made no attempts to explain them historically. Was the first test culturally responsive? All pupils representing different cultures tackled the first source exam successfully, but there were some signs of how historical concepts are understood in a slightly different way if the pupil’s personal history has no linkage to the concepts under scrutiny. The second test focused on the history of Native Americans. The test first required pupils to recognize whether short source extracts (5) were written by Indians or Caucasians. Based on what they had already learned from North American history, the pupils did not find it hard to distinguish between the sources. The analysis of multiphase causes and consequences of the disputes between Native Americans and white Americans caused dispersion among pupils. Using two historical sources and combining historical knowledge from both of them simultaneously was cumbersome for many. The explanations of consequences can be divided into two groups: the ones emphasizing short term consequences and those placing emphasis on long term consequences. The short term approach was mainly followed by boys in every group. The girls mainly paid attention to long term consequences. The result suggests that historical knowledge in sources is at least to some extent read through role and gender lenses. The third test required pupils to explain in their own words how the three sources given differed in their account of living conditions in Nazi Germany, which turned out to be demanding for many pupils. The pupils’ stronghold was rather the assessment of source reliability and accounts why the sources approached the same events differently. All participants wrote critical and justified comments on reliability and aspects that might have affected the content of the sources. The pupils felt that the main reasons that affected source reliability were the authors’ ethnic background, nationality and profession. The assessment showed that pupils were well aware that position in a historical situation has an impact on historical accounts, but in certain cases the victim’s account was seen as a historical truth. The account of events by a historian was chosen most often as the most reliable source, but it was often justified leniently with an indication to professionalism rather than with clear ideas of how historians conduct accounts based on sources. In brief, the last source test demonstrates that pupils have a strong idea that the ethnicity or nationalism determines how people explained events of the past. It is also an implication that pupils understand how historical knowledge is interpretative. The results also imply that history can be analyzed from a neutral perspective. One’s own membership in an ethnical or religious group does not automatically mean that a person’s cultural identity excludes historical explanations if something in them contradicts with his or her identity. The second method of extracting knowledge of pupils’ historical thinking was an essay analysis. The analysis shows that an analytical account of complicated political issues, which often include a great number of complicated political concepts, leads more likely to an inconsistent structure in the written work of pupils. The material also demonstrates that pupils have a strong tendency to take a critical stance when assessing history. Historical empathy in particular is shown if history somehow has a linkage to young people, children or minorities. Some topics can also awake strong feelings, especially among pupils with emigrant background, if there is a linkage between one’s own personal history and that of the school; and occasionally a student’s historical experience or thoughts replaced school history. Using sources during history lessons at school seems to have many advantages. It enhances the reasoning skills of pupils and their skills to assess the nature of historical knowledge. Thus one of the main aims and a great benefit of source work is to encourage pupils to express their own ideas and opinions. To conclude, when assessing the skills of adolescents in history - their work with sources, comments on history, historical knowledge and finally their historical thinking - one should be cautious and avoid cut off score evaluations. One purpose of pursuing history with sources is to encourage pupils to think independently, which is a useful tool for further identity construction. The idea that pupils have the right to conduct their own interpretations of history can be partially understood as part of a wider learning process, justification to study history comes from extrinsic reasons. The intrinsic reason is history itself; in order to understand history one should have a basic understanding of history as a specific domain of knowledge. Using sources does not mean that knowing history is of secondary importance. Only a balance between knowing the contextual history, understanding basic key concepts and working with sources is a solid base to improve pupils’ historical understanding.

Comparison Structure Analysis

This study presents an automatic, computer-aided analytical method called Comparison Structure Analysis (CSA), which can be applied to different dimensions of music. The aim of CSA is first and foremost practical: to produce dynamic and understandable representations of musical properties by evaluating the prevalence of a chosen musical data structure through a musical piece. Such a comparison structure may refer to a mathematical vector, a set, a matrix or another type of data structure and even a combination of data structures. CSA depends on an abstract systematic segmentation that allows for a statistical or mathematical survey of the data. To choose a comparison structure is to tune the apparatus to be sensitive to an exclusive set of musical properties. CSA settles somewhere between traditional music analysis and computer aided music information retrieval (MIR). Theoretically defined musical entities, such as pitch-class sets, set-classes and particular rhythm patterns are detected in compositions using pattern extraction and pattern comparison algorithms that are typical within the field of MIR. In principle, the idea of comparison structure analysis can be applied to any time-series type data and, in the music analytical context, to polyphonic as well as homophonic music. Tonal trends, set-class similarities, invertible counterpoints, voice-leading similarities, short-term modulations, rhythmic similarities and multiparametric changes in musical texture were studied. Since CSA allows for a highly accurate classification of compositions, its methods may be applicable to symbolic music information retrieval as well. The strength of CSA relies especially on the possibility to make comparisons between the observations concerning different musical parameters and to combine it with statistical and perhaps other music analytical methods. The results of CSA are dependent on the competence of the similarity measure. New similarity measures for tonal stability, rhythmic and set-class similarity measurements were proposed. The most advanced results were attained by employing the automated function generation – comparable with the so-called genetic programming – to search for an optimal model for set-class similarity measurements. However, the results of CSA seem to agree strongly, independent of the type of similarity function employed in the analysis.