From One’s Own Head: The Creation of Improvisation Using Folk Music Pedagogy

Author: 
Leena Joutsenlahti
Publishing year: 
2018

EST-julkaisusarja 44
Sibelius-Akatemian kansanmusiikkijulkaisuja 31
julkaisija: Taideyliopiston Sibelius-Akatemia

Taideyliopiston Sibelius-Akatemia, Helsinki
Taiteellisen tohtorintutkinnon kirjallinen työ

Musiikkikasvatuksen, jazzin ja kansanmusiikin osasto, MuTri-tohtorikoulu 2018.

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Abstract

I began my bachelor’s studies in folk music in 1983 when the Sibelius Academy’s Folk Music Department was established. It was not until then that I learned about the living oral tradition and the thousands of archived recordings and music sheets of Finnish folk music. The improvisatory nature of folk music was not, after all, an exclusive feature of distant cultures as I had earlier learned and imagined. Finland’s Western music culture had depths that I had never encountered or experienced. In the 1990s, the Folk Music Department decided to include improvisation in its definition of folk music. This decision reformed the folk music students’ ideas of improvisation and the ways in which folk music can be played, sung, and performed. I will approach folk music improvisation in this study by briefly describing the research into improvisation that has been conducted by certain folk musicians in the context of their doctoral studies. In this thesis, I will discuss the concept of ‘making music from one’s own head’ from the viewpoints of an artist and a teacher. My 35-year-long experience of teaching folk music has given me ideas about what folk music teaching could be and should be. For this artistic doctoral degree, I applied the following methods: observing and listening to my folk music idols, myself, and my students; teaching and playing folk music; and delving into the relevant literature. I discovered the most important answers to my research questions during my writing process. The primary goal of my artistic doctoral thesis is to discover what making music from one’s own head entails for children. Through my work with children, I have experienced a new realisation of what children’s spontaneous music-making means to my own teaching and what it means in the folk music context. Spontaneous songs are a feature of a phase in children’s development in which they begin to make music in their cultural context. These songs compare to runo songs from the world of the oral music tradition. Many studies view the child as a starting point for instruction. My finding, however, is that children are not defined by what they cannot do; instead, they are defined by what they already know how to do. This must be taken into account when creating a teaching context. The preceding information sums up the most important results of my research. I gave my doctoral concerts between 2008 and 2013. In the concerts, I explored how studying folk music has changed my ideas of making music, playing music, and singing. In my thesis, I describe my improvisation process. I recount how Heikki Laitinen’s folk music pedagogy influenced me when I was a first-year student. For me, playing music and singing assumed a new value and meaning. Folk music has allowed me to have a personal relationship to music-making. I am allowed to play music and sing in my own voice and in my own way. Traditional folk music is abundant with examples of musical idols – women and men for whom playing and singing were like a second native language, whose joys and sorrows could be heard in their music. I came to notice that, in the concerts, I allowed the same emotions to be heard in my music. While studying the folk music aesthetics, my musical world view changed completely. The fancies of my youth came true. I found a meaningful, for me, way of improvisation: making music from my own head. I found my music.

Keywords: Folk Music Department, Heikki Laitinen, folk music pedagogy, improvisation, variation, from one’s own head, oral tradition in music, children’s spontaneous songs, emotions, paimensoittu shepherd’s flute, pinewood flute, Teppo Repo

Sisällys

Tiivistelmä
Abstract
From One's Own Head: The Creation of Improvisation Using Folk Music Pedagogy
Kiitokset
Alkusanat
1 Johdanto
2 Tausta
2.1 Leena - matkalla kansanmusiikkiin ja improvisaatioon
2.2 Teppo Repo ja omasta päästä soitto
2.3 Impro(visaatio)
3 Sibelius-Akatemian 1980-luvun kansanmusiikkipedagogiikka ja sen vaikutus musiikkiuraani
3.1 Opiskelijana Sibelius-Akatemian kansanmusiikin osaston ensimmäisellä vuosikurssilla
3.2 Heikki Laitisen kansanmusiikkiopit
4 Omasta päästä improvisoinnin opettajana
4.1 Lasten omasta päästä laulut ja soitot
4.2 Omasta päästä -metodi
4.3 Hulluus perintönä
4.4 Teesit
5 Omasta päästä improvisointia jatkotutkintokonserteissa
5.1 Tunneherkkyys ja soitto
5.2 Ensimmäinen jatkotutkintokonsertti 2008 Makale - improvisointia mäntyhuilulla
5.3 Toinen jatkotutkintokonsertti 2009 Makale - improvisaatioita mäntyhuilulla
5.4 Kolmas jatkotutkintokonsertti 2011 Makale äidille - improvisaatioita paimensoitulla
5.5 Neljäs jatkotutkintokonsertti 2012 Makale - Sattuma
5.6 Viides jatkotutkintokonsertti 2013 Makele - Virtaa
5.7 Taiteellinen prosessi
6 Omasta päästä soitto ja laulu
6.1 Määritystä etsimässä
6.2 Oma omasta päästä
6.3 Lasten omasta päästä
6.4 Laulun lupa ja tuottamisen sääntö
6.5 Käsityksiä ja käsitteitä
6.6 Muunnelmat, improt ja omasta päästä
6.7 Improvisaatio ja omasta päästä kansanmusiikissa
7 Johtopäätökset
Lähteet
Liitteet

© 2018 Leena Joutsenlahti
Kustantaja: Taideyliopiston Sibelius-Akatemia
Paino: Unigrafia, Helsinki
Kansi: Jan Rosström / Taideyliopiston Sibelius-Akatemia
Kannen kuva: Jorma Airola
Taitto: Timo Väänänen / Maanite
Pieni Katriina -balladinuottien puhtaaksikirjoitus: Riitta-Liisa Joutsenlahti
ISBN 978-952-329-110-2 | ISSN 2489-7981 | ISSN 2242-8054
EST 44 | Sibelius-Akatemian kansanmusiikkijulkaisuja 31 | etno.net/tohtoriopinnot