Media-Based Music in Estonia - Revision history

Diogooutra at 13:12, 1 March 2021

2021-03-01T13:12:20Z

Diogo: /* Electroacoustic Music and Computer Music in Estonia 1960–2000 */

2019-06-29T15:40:28Z

‎Electroacoustic Music and Computer Music in Estonia 1960–2000

Diogo: /* Electroacoustic Music and Computer Music in Estonia 1960–2000 */

2019-06-29T15:29:06Z

‎Electroacoustic Music and Computer Music in Estonia 1960–2000

Diogo: /* The Electronic Studio at the Estonian Music and Theatre Academy */

2019-04-10T12:56:43Z

‎The Electronic Studio at the Estonian Music and Theatre Academy

Diogo: /* The Electronic Studio at the Estonian Music and Theatre Academy */

2019-04-10T12:55:01Z

‎The Electronic Studio at the Estonian Music and Theatre Academy

Diogo at 12:54, 10 April 2019

2019-04-10T12:54:03Z

Diogo at 15:22, 4 April 2019

2019-04-04T15:22:58Z

Diogo at 12:02, 2 November 2018

2018-11-02T12:02:07Z

Diogo at 15:47, 27 March 2018

2018-03-27T15:47:14Z

Diogo at 18:10, 5 March 2018

2018-03-05T18:10:06Z

@@ Line 63: / Line 63: @@
 First referred to as the Helistuudio (sound studio) when it was founded in 1993 by composer Rauno Remme, the Studio, which at the time mainly consisted of outdated Soviet-produced technology, was housed in the Music Academy in Tallinn’s suburb of Nõmme. In 1994 the Studio moved into the inner city building of the Estonian Music Academy. During the following years, the technical equipment could be renewed thanks to support from the EU’s TEMPUS fund. Various master classes were offered in collaboration with the Lyon Conservatory and the Cologne Music School’s Electronic Studio, and Estonian students were given the chance to do a semester abroad at the partner schools. In September 1995, professor of composition Lepo Sumera was appointed director of what at the time was referred to as the Arvutimuusika stuudio (Studio for Computer Music).
-The Studio was officially re-inaugurated in October 1995. One month later the Studio took part in the NYYD Festival, where, among other works, Rauno Remme’s multimedia composition »Gen Ision« (with music, video and dance) had its premiere. '''[xx]'''  In 1997 the Studio took part in the music academy at the Festival Eesti Muusika Päevad (Estonian Music Days). Works were performed by Sven Grünberg, Igor Garšnek, Peeter Vähi, Rauno Remme and Mihkel Laur, and Lepo Sumera organised a sound installation. <em><strong>[xxi]</strong></em> At some point in 1997 the Studio was renamed Elektronmuusika stuudio (Studio for Electronic Music).
+The Studio was officially re-inaugurated in October 1995. One month later the Studio took part in the NYYD Festival, where, among other works, Rauno Remme’s multimedia composition »Gen Ision« (with music, video and dance) had its premiere. '''[xx]'''  In 1997 the Studio took part in the music academy at the Festival Eesti Muusika Päevad (Estonian Music Days). Works were performed by Sven Grünberg, Igor Garšnek, [[Peeter Vähi]], [[Rauno Remme]] and Mihkel Laur, and [[Lepo Sumera]] organised a sound installation. <em><strong>[xxi]</strong></em> At some point in 1997 the Studio was renamed Elektronmuusika stuudio (Studio for Electronic Music).
 [[File:Genision-rauno remme(1).gif|thumb|right|»Gen Ision« by Rauno Remme. Photo: unknown]]

@@ Line 48: / Line 48: @@
 With the conquest of transistor technology, a handful of enthusiasts built their own analogue synthesizers. Instruments such as these, and later also commercial products that found their way to Estonia, become known through their use in rock bands. [[Sven Grünberg]] is without a doubt Estonia’s synthesizer music pioneer, moving stylistically between progressive rock and ambient music with influences from Far Eastern music. Sven Grünberg developed a [[Härmo Härm]]-built synthesizer in 1974 with only one oscillator for Mess, his progressive rock band in which he primarily performed his own compositions.
-At the end of the 1970s Koit Saarmäe built a modular analogue synthesizer that already had three oscillators and noise generators. It was used by [[Erkki-Sven Tüür]] and his rock band [[In Spe]]. In addition, Grünberg was eventually given the chance to work on an EMS Synthi-100 in Moscow. It was there that he composed the works »Valgusõis« (Light Blossom, 1978) and the film music for »›Hukkunud alpinisti‹ hotell« (»The Dead Mountaineer« Hotel, 1979). <em><strong>[xiii]</strong></em>
+At the end of the 1970s [[Koit Saarmäe]] built a modular analogue synthesizer that already had three oscillators and noise generators. It was used by [[Erkki-Sven Tüür]] and his rock band [[In Spe]]. In addition, Grünberg was eventually given the chance to work on an EMS Synthi-100 in Moscow. It was there that he composed the works »Valgusõis« (Light Blossom, 1978) and the film music for »›Hukkunud alpinisti‹ hotell« (»The Dead Mountaineer« Hotel, 1979). <em><strong>[xiii]</strong></em>
 [[Jaan Rääts]]’ »Electronic Marginalia« from 1980 – which can be categorised as classically modern – represent electronic versions of several of his »24 Marginalia for the Piano«, and were dedicated to Kalle Randalu. They were a collaborative effort, recorded partially through improvisation using keyboard-based synthesizers at the Estonian Radio studio. They were mixed by sound engineer Enn Tomson, along with Kalle Randalu and Sven Grünberg.<em><strong>[xiv]</strong></em>

@@ Line 48: / Line 48: @@
 With the conquest of transistor technology, a handful of enthusiasts built their own analogue synthesizers. Instruments such as these, and later also commercial products that found their way to Estonia, become known through their use in rock bands. [[Sven Grünberg]] is without a doubt Estonia’s synthesizer music pioneer, moving stylistically between progressive rock and ambient music with influences from Far Eastern music. Sven Grünberg developed a [[Härmo Härm]]-built synthesizer in 1974 with only one oscillator for Mess, his progressive rock band in which he primarily performed his own compositions.
-At the end of the 1970s Koit Saarmäe built a modular analogue synthesizer that already had three oscillators and noise generators. It was used by Erkki-Sven Tüür and his rock band In Spe. In addition, Grünberg was eventually given the chance to work on an EMS Synthi-100 in Moscow. It was there that he composed the works »Valgusõis« (Light Blossom, 1978) and the film music for »›Hukkunud alpinisti‹ hotell« (»The Dead Mountaineer« Hotel, 1979). <em><strong>[xiii]</strong></em>
+At the end of the 1970s Koit Saarmäe built a modular analogue synthesizer that already had three oscillators and noise generators. It was used by [[Erkki-Sven Tüür]] and his rock band [[In Spe]]. In addition, Grünberg was eventually given the chance to work on an EMS Synthi-100 in Moscow. It was there that he composed the works »Valgusõis« (Light Blossom, 1978) and the film music for »›Hukkunud alpinisti‹ hotell« (»The Dead Mountaineer« Hotel, 1979). <em><strong>[xiii]</strong></em>
 [[Jaan Rääts]]’ »Electronic Marginalia« from 1980 – which can be categorised as classically modern – represent electronic versions of several of his »24 Marginalia for the Piano«, and were dedicated to Kalle Randalu. They were a collaborative effort, recorded partially through improvisation using keyboard-based synthesizers at the Estonian Radio studio. They were mixed by sound engineer Enn Tomson, along with Kalle Randalu and Sven Grünberg.<em><strong>[xiv]</strong></em>

@@ Line 63: / Line 63: @@
 First referred to as the Helistuudio (sound studio) when it was founded in 1993 by composer Rauno Remme, the Studio, which at the time mainly consisted of outdated Soviet-produced technology, was housed in the Music Academy in Tallinn’s suburb of Nõmme. In 1994 the Studio moved into the inner city building of the Estonian Music Academy. During the following years, the technical equipment could be renewed thanks to support from the EU’s TEMPUS fund. Various master classes were offered in collaboration with the Lyon Conservatory and the Cologne Music School’s Electronic Studio, and Estonian students were given the chance to do a semester abroad at the partner schools. In September 1995, professor of composition Lepo Sumera was appointed director of what at the time was referred to as the Arvutimuusika stuudio (Studio for Computer Music).
-The Studio was officially re-inaugurated in October 1995. One month later the Studio took part in the NYYD Festival, where, among other works, Rauno Remme’s multimedia composition »Gen Ision« (with music, video and dance) had its premiere.<em> <strong>[xx]</strong></em> In 1997 the Studio took part in the music academy at the Festival Eesti Muusika Päevad (Estonian Music Days). Works were performed by Sven Grünberg, Igor Garšnek, Peeter Vähi, Rauno Remme and Mihkel Laur, and Lepo Sumera organised a sound installation. <em><strong>[xxi]</strong></em> At some point in 1997 the Studio was renamed Elektronmuusika stuudio (Studio for Electronic Music).
+The Studio was officially re-inaugurated in October 1995. One month later the Studio took part in the NYYD Festival, where, among other works, Rauno Remme’s multimedia composition »Gen Ision« (with music, video and dance) had its premiere. '''[xx]'''  In 1997 the Studio took part in the music academy at the Festival Eesti Muusika Päevad (Estonian Music Days). Works were performed by Sven Grünberg, Igor Garšnek, Peeter Vähi, Rauno Remme and Mihkel Laur, and Lepo Sumera organised a sound installation. <em><strong>[xxi]</strong></em> At some point in 1997 the Studio was renamed Elektronmuusika stuudio (Studio for Electronic Music).
 [[File:Genision-rauno remme(1).gif|thumb|right|»Gen Ision« by Rauno Remme. Photo: unknown]]
@@ Line 74: / Line 74: @@
 The deaths of both leading figures, Lepo Sumera (2000) and Rauno Remme (2002), was especially dramatic for the development of the Studio. Their responsibilities were taken on by a younger generation of sound engineers and composers, and the teaching curriculum at the Studio has since been continuously renewed, harmonised with technical innovations and expanded to include new subjects. Young, qualified graduates were later to become a new generation of instructors.
-In 2003 a new curriculum was established which included acoustics, electroacoustics, practical sound engineering and foundations of audiovisual art, which (until his death in 2008) was taught by esteemed sound engineer Hannes Valdma from Estonian Radio. Live electronics and interactive composition were incorporated into the curriculum in 2006. Guest professors from Denmark, Germany, Finland, France, Latvia and the USA enhance the programme. Until 2003, the equipment available to work with was largely from Cologne. Thanks to support from the Japanese government, the Studio was able to be completely refurbished once again, fundamentally improving working conditions. [xxiv]
+In 2003 a new curriculum was established which included acoustics, electroacoustics, practical sound engineering and foundations of audiovisual art, which (until his death in 2008) was taught by esteemed sound engineer Hannes Valdma from Estonian Radio. Live electronics and interactive composition were incorporated into the curriculum in 2006. Guest professors from Denmark, Germany, Finland, France, Latvia and the USA enhance the programme. Until 2003, the equipment available to work with was largely from Cologne. Thanks to support from the Japanese government, the Studio was able to be completely refurbished once again, fundamentally improving working conditions. '''''[xxiv]'''''
 The technical possibilities were updated on a constant basis, and special electronic composition devices were acquired in addition to tonal equipment, including a Doepfer A-100 system for analogue sound synthesis, hemisphere loudspeakers with omnidirectional antennas and a Lemur touchscreen controller.
-The Studio for Electronic Music enjoys a long-term collaboration with the IRCAM in Paris. After Helena Tulve was able to participate in IRCAM courses for composers in 2001, flautist Monika Mattiesen – who founded the Küberstuudio Ensemble in 2000, which was closely related to the Studio for Electronic Music – attended multiple IRCAM classes for interpreters as well as Stockhausen’s master classes in Kürten. In 2008, the Studio participated in the ECMCT (European Course for Musical Composition and Technology), an IRCAM-coordinated teaching programme, together with the Centre for Music and Technology (CMT) at the Sibelius Academy Helsinki. [xxv]
+The Studio for Electronic Music enjoys a long-term collaboration with the IRCAM in Paris. After Helena Tulve was able to participate in IRCAM courses for composers in 2001, flautist Monika Mattiesen – who founded the Küberstuudio Ensemble in 2000, which was closely related to the Studio for Electronic Music – attended multiple IRCAM classes for interpreters as well as Stockhausen’s master classes in Kürten. In 2008, the Studio participated in the ECMCT (European Course for Musical Composition and Technology), an IRCAM-coordinated teaching programme, together with the Centre for Music and Technology (CMT) at the Sibelius Academy Helsinki. '''''[xxv]'''''
 The 1990s were spent rapidly acquiring further knowledge, and there were soon even gerater possibilities to discover and practice media-based music. This was institutionalised for the first time with the Estonian Music Academy’s Studio for Electronic Music, but remained in the background for a wider audience until the mid-1990s.

@@ Line 66: / Line 66: @@
 [[File:Genision-rauno remme(1).gif|thumb|right|»Gen Ision« by Rauno Remme. Photo: unknown]]
-The Electronic Music Bachelor’s programme commenced in 1997/98, with subjects including computer technology, computer notation, sound engineering and sound synthesis. <a href="#_edn22" name="_ednref22"><em><strong>[xxii]</strong></em></a> From the beginning, equal emphasis was placed on in-depth artistic and technical education: »In our opinion, technical knowledge also encourages the ability to think about what is actually possible and what kinds of sounds can be imagined. In electronic music, the sounds are, of course, first created and then used to develop the composition,« wrote Sumera in 1999 in Teater.Muusika.Kino.<em><strong>[xxiii]</strong></em>
+The Electronic Music Bachelor’s programme commenced in 1997/98, with subjects including computer technology, computer notation, sound engineering and sound synthesis. [xxii] From the beginning, equal emphasis was placed on in-depth artistic and technical education: »In our opinion, technical knowledge also encourages the ability to think about what is actually possible and what kinds of sounds can be imagined. In electronic music, the sounds are, of course, first created and then used to develop the composition,« wrote Sumera in 1999 in Teater.Muusika.Kino.<em><strong>[xxiii]</strong></em>
 The instructors and studio consultants are available to advise the students, who work on their pieces and computer programmes more or less independently. Despite a constant change in the respective courses of study, Sumera’s principles, which were established in 1999, are followed to the present day.
@@ Line 74: / Line 74: @@
 The deaths of both leading figures, Lepo Sumera (2000) and Rauno Remme (2002), was especially dramatic for the development of the Studio. Their responsibilities were taken on by a younger generation of sound engineers and composers, and the teaching curriculum at the Studio has since been continuously renewed, harmonised with technical innovations and expanded to include new subjects. Young, qualified graduates were later to become a new generation of instructors.
-In 2003 a new curriculum was established which included acoustics, electroacoustics, practical sound engineering and foundations of audiovisual art, which (until his death in 2008) was taught by esteemed sound engineer Hannes Valdma from Estonian Radio. Live electronics and interactive composition were incorporated into the curriculum in 2006. Guest professors from Denmark, Germany, Finland, France, Latvia and the USA enhance the programme. Until 2003, the equipment available to work with was largely from Cologne. Thanks to support from the Japanese government, the Studio was able to be completely refurbished once again, fundamentally improving working conditions. <em><strong>[xxiv]</strong></em>
+In 2003 a new curriculum was established which included acoustics, electroacoustics, practical sound engineering and foundations of audiovisual art, which (until his death in 2008) was taught by esteemed sound engineer Hannes Valdma from Estonian Radio. Live electronics and interactive composition were incorporated into the curriculum in 2006. Guest professors from Denmark, Germany, Finland, France, Latvia and the USA enhance the programme. Until 2003, the equipment available to work with was largely from Cologne. Thanks to support from the Japanese government, the Studio was able to be completely refurbished once again, fundamentally improving working conditions. [xxiv]
 The technical possibilities were updated on a constant basis, and special electronic composition devices were acquired in addition to tonal equipment, including a Doepfer A-100 system for analogue sound synthesis, hemisphere loudspeakers with omnidirectional antennas and a Lemur touchscreen controller.
-The Studio for Electronic Music enjoys a long-term collaboration with the IRCAM in Paris. After Helena Tulve was able to participate in IRCAM courses for composers in 2001, flautist Monika Mattiesen – who founded the Küberstuudio Ensemble in 2000, which was closely related to the Studio for Electronic Music – attended multiple IRCAM classes for interpreters as well as Stockhausen’s master classes in Kürten. In 2008, the Studio participated in the ECMCT (European Course for Musical Composition and Technology), an IRCAM-coordinated teaching programme, together with the Centre for Music and Technology (CMT) at the Sibelius Academy Helsinki. <em><strong>[xxv]</strong></em>
+The Studio for Electronic Music enjoys a long-term collaboration with the IRCAM in Paris. After Helena Tulve was able to participate in IRCAM courses for composers in 2001, flautist Monika Mattiesen – who founded the Küberstuudio Ensemble in 2000, which was closely related to the Studio for Electronic Music – attended multiple IRCAM classes for interpreters as well as Stockhausen’s master classes in Kürten. In 2008, the Studio participated in the ECMCT (European Course for Musical Composition and Technology), an IRCAM-coordinated teaching programme, together with the Centre for Music and Technology (CMT) at the Sibelius Academy Helsinki. [xxv]
 The 1990s were spent rapidly acquiring further knowledge, and there were soon even gerater possibilities to discover and practice media-based music. This was institutionalised for the first time with the Estonian Music Academy’s Studio for Electronic Music, but remained in the background for a wider audience until the mid-1990s.
-Networks with other international centres were established parallel to the institutionalisation and increased teaching activity during this time. The music that is produced at the Electronic Studio in Tallinn can primarily be categorised as electroacoustic art music and electroacoustic concert music.<em><strong>[xxvi]</strong></em> This distinguishes it from independent artistic movements, such as progressive rock before and after 1990, as well as from sound art and multimedia installations.
+Networks with other international centres were established parallel to the institutionalisation and increased teaching activity during this time. The music that is produced at the Electronic Studio in Tallinn can primarily be categorised as electroacoustic art music and electroacoustic concert music.[xxvi] This distinguishes it from independent artistic movements, such as progressive rock before and after 1990, as well as from sound art and multimedia installations.
 == Sound Art, Installation and Performance Since 1960 ==

@@ Line 23: / Line 23: @@
 Further associations include the MoKS Centre for Art and Social Practice (southern Estonia), which began as a network in the field of sound art in 2001, and the Academia Non Grata (formerly Academia Grata) in Pärnu, with its periodic training structures and free activities. Platforms for the primarily independent scene are the so-called culture factories. These include Polymer, Kultuurikatel and Telliskivi in Tallinn, and the Pärmivabrik in Tartu.
-Examples of free groups prior to the opening of the Iron Curtain are alternative and progressive rock bands such as Mess and In Spe, as well as the experimental ensemble [[Grotest]], which existed from 1984–1992. Bands in the 1990s and later include Röövelööbik, Luarvik Luarvik as well as Weekend Guitar Trio and the Trio Fragile.
+Examples of free groups prior to the opening of the Iron Curtain are alternative and progressive rock bands such as [[Mess]] and [[In Spe]], as well as the experimental ensemble [[Grotest]], which existed from 1984–1992. Bands in the 1990s and later include [[Röövelööbik]], [[Luarvik Luarvik]] as well as [[Weekend Guitar Trio]] and the [[Trio Fragile]].
 Significant individual pioneers of the alternative and DJ and house music scene include Aivar Tõnso, Raul Saaremets and Rando Sulg. Experimental electronic music representatives of the early 2000s include Taavi Kerikmäe and Mart Soo.
@@ Line 34: / Line 34: @@
 Media-based music in Estonia also has many terms and different manifestations that have been subject to constant change over the past 50 years. While the state generally considered electroacoustic and computer music to be ideologically untenable, they were absorbed with great interest and enthusiasm in the music and radio scene.
-In 1961 Kultuur ja Elu (Culture and Life) magazine published an article entitled »sünteetiline muusika« (synthetic music). <em><strong>[iv]</strong></em>  Kuldar Sink used the Estonian term »tehismuusika« (artificial music), selecting it as a name for his four-part radio series in 1970, in which he surprisingly comprehensively illuminated the different facets of Western European and Polish electronic and concrete music. <em><strong>[v]</strong></em> In 1963, a travel report about West Germany in Sirp ja Vasar (Sickle and Hammer) mentioned the activities of the Cologne School and the visit to the NWDR experimental studio. <em><strong>[vi]</strong></em>
+In 1961 Kultuur ja Elu (Culture and Life) magazine published an article entitled »sünteetiline muusika« (synthetic music). <em><strong>[iv]</strong></em>  [[Kuldar Sink]] used the Estonian term »tehismuusika« (artificial music), selecting it as a name for his four-part radio series in 1970, in which he surprisingly comprehensively illuminated the different facets of Western European and Polish electronic and concrete music. <em><strong>[v]</strong></em> In 1963, a travel report about West Germany in Sirp ja Vasar (Sickle and Hammer) mentioned the activities of the Cologne School and the visit to the NWDR experimental studio. <em><strong>[vi]</strong></em>
 In 1963 and 1964 a number of radio programmes featured the topics of machine and music <em><strong>[</strong></em><em><strong>vii]</strong></em> and art and cybernetics <em><strong>[</strong></em><em><strong>viii]</strong></em>, and simple technological possibilities using computers to make music were discussed (although the Estonian Radio’s data processing centre only received its first computer in 1969). It can be assumed that a lively public interest in technological innovations and the link between technology and art was prevalent, which was enabled by the more liberal policies of the »thaw« at the time.

← Older revision		Revision as of 15:22, 4 April 2019
Line 205:		Line 205:
	[xxxv] Christian Scheib / Susanna Niedermayr, »Im Nationalparadies. Estnische Wonnen, deren Grenzen in der Selbstfindung und deren Export über Grenzen. Über die estnische Musikszene«, Redaktionsbuero, 26.06.2007. http://web.redaktionsbuero.at/output/?f=&e=58&page=rb_ARTIKEL&a=64a265cb [31.08.2012].		[xxxv] Christian Scheib / Susanna Niedermayr, »Im Nationalparadies. Estnische Wonnen, deren Grenzen in der Selbstfindung und deren Export über Grenzen. Über die estnische Musikszene«, Redaktionsbuero, 26.06.2007. http://web.redaktionsbuero.at/output/?f=&e=58&page=rb_ARTIKEL&a=64a265cb [31.08.2012].

−	[[Category: Sound Exchange]] [[Category:Estonian ~~Contributions~~]] [[Category: Essays]]	+	[[Category: Sound Exchange]] [[Category:Estonian Content]] [[Category: Essays]]

@@ Line 9: / Line 9: @@
 Estonian journalists, composers and artists were largely familiar with Western European and Polish trends in electronic and media-based music, thanks to trips made to the Cologne NWDR Studio and the Warsaw Autumn Festival, etc. Various Estonian radio programmes focused on topics such as synthetic music, computer music, cybernetics, machines and music and electronic instruments. An attempt by the Estonian Composers’ Union to secure a Yamaha DX-7 synthesizer (which failed for ideological reasons) and trips made by Lepo Sumera to the USA in the 1980s are evidence of the artists’ interest in electroacoustic and experimental music.
-In order to better understand the multifaceted mechanisms and root-like interconnections of recent and contemporary history, official as well as private, obscure documents and events must be taken into account <em><strong>[ii]</strong></em>, though the latter are either badly – if at all – documented, or only orally transmitted. In addition, many of the pioneers can no longer be interviewed as they died during the last Millennium. These include composers Kuldar Sink, Lepo Sumera, Rauno Remme, computer linguist Mart Remmel, sound engineer Hannes Valdma as well as computer music enthusiast Mark Rais, who launched an association for computer music and music informatics at a founding congress in 1989 which was attended by the legendary Lew Termen <em><strong>[iii]</strong></em>.
+In order to better understand the multifaceted mechanisms and root-like interconnections of recent and contemporary history, official as well as private, obscure documents and events must be taken into account <em><strong>[ii]</strong></em>, though the latter are either badly – if at all – documented, or only orally transmitted. In addition, many of the pioneers can no longer be interviewed as they died during the last Millennium. These include composers [[Kuldar Sink]], [[Lepo Sumera]], [[Rauno Remme]], computer linguist [[Mart Remmel]], sound engineer [[Hannes Valdma]] as well as computer music enthusiast [[Mark Rais]], who launched an association for computer music and music informatics at a founding congress in 1989 which was attended by the legendary Lew Termen <em><strong>[iii]</strong></em>.
 The association remained active well into the mid-1990s. Many composers of the younger generation were able to study and reside abroad once the Iron Curtain opened in 1989/90, while maintaining ties to their cultural roots. Conversely, various composers from abroad have since moved to Estonia, enriching cultural life there.
@@ Line 23: / Line 23: @@
 Further associations include the MoKS Centre for Art and Social Practice (southern Estonia), which began as a network in the field of sound art in 2001, and the Academia Non Grata (formerly Academia Grata) in Pärnu, with its periodic training structures and free activities. Platforms for the primarily independent scene are the so-called culture factories. These include Polymer, Kultuurikatel and Telliskivi in Tallinn, and the Pärmivabrik in Tartu.
-Examples of free groups prior to the opening of the Iron Curtain are alternative and progressive rock bands such as Mess and In Spe, as well as the experimental ensemble Grotest, which existed from 1984–1992. Bands in the 1990s and later include Röövelööbik, Luarvik Luarvik as well as Weekend Guitar Trio and the Trio Fragile.
+Examples of free groups prior to the opening of the Iron Curtain are alternative and progressive rock bands such as Mess and In Spe, as well as the experimental ensemble [[Grotest]], which existed from 1984–1992. Bands in the 1990s and later include Röövelööbik, Luarvik Luarvik as well as Weekend Guitar Trio and the Trio Fragile.
 Significant individual pioneers of the alternative and DJ and house music scene include Aivar Tõnso, Raul Saaremets and Rando Sulg. Experimental electronic music representatives of the early 2000s include Taavi Kerikmäe and Mart Soo.
@@ Line 40: / Line 40: @@
 At first, genres such as film and radio play music naturally encouraged a creative use of the audiotape as a technical tool with which to create new kinds of sounds. Film music also provided a promising field of application for this kind of music. Indeed, there are early examples of Estonian electronic music in this context. In the Soviet Union, however, it was believed that electronic music was only suitable as film music (especially science fiction), and not for independent works of an absolute music. <em><strong>[ix]</strong></em>
-Probably one of the first Estonian electronic works is a theatre music piece by Kuldar Sink, composed in 1966 for a drama by Polish novelist Jerzy Broszkiewicz, entitled »I will tell you my story«.<em> <strong>[x]</strong></em> In »Problems in Artificial Music«, a radio programme broadcast in 1970, Sink introduced his work by referring to the working methods of musique concrète: »It’s about a purely programmatic sound backdrop that accompanies the pantomime of the Warsaw ghetto uprising. My starting material includes natural sounds such as footsteps, calls, screams, individually recorded sung chords, drum tremoli in different pitches, music fragments that melted into a whole through multiple mixing, partially through fourfold modifications of the playback speed and reverse functions.«<em> <strong>[xi]</strong></em>
+Probably one of the first Estonian electronic works is a theatre music piece by [[Kuldar Sink]], composed in 1966 for a drama by Polish novelist Jerzy Broszkiewicz, entitled »I will tell you my story«.<em> <strong>[x]</strong></em> In »Problems in Artificial Music«, a radio programme broadcast in 1970, Sink introduced his work by referring to the working methods of musique concrète: »It’s about a purely programmatic sound backdrop that accompanies the pantomime of the Warsaw ghetto uprising. My starting material includes natural sounds such as footsteps, calls, screams, individually recorded sung chords, drum tremoli in different pitches, music fragments that melted into a whole through multiple mixing, partially through fourfold modifications of the playback speed and reverse functions.«<em> <strong>[xi]</strong></em>
 In addition to audiotape-supported, musique concrète-style approaches, the use of electroacoustic and electronic instruments gradually established itself despite ideological barriers and technical shortcomings. From 1957–1961 Heino Pedussaar and Anatoli Sügis constructed a key instrument called a »varioola«, which was based on pipe technology and can be viewed today at the Estonian Theatre and Music Museum in Tallinn. <strong><em>[xii]</em></strong>
@@ Line 46: / Line 46: @@
 [[File:Varioola(1).jpg|thumb|right|J. S. Bach, Partita Nr. 1 BWV 825, Raldur Roots plays the electronic instrument Varioola (Melodia)]]
-With the conquest of transistor technology, a handful of enthusiasts built their own analogue synthesizers. Instruments such as these, and later also commercial products that found their way to Estonia, become known through their use in rock bands. Sven Grünberg is without a doubt Estonia’s synthesizer music pioneer, moving stylistically between progressive rock and ambient music with influences from Far Eastern music. Sven Grünberg developed a Härmo Härm-built synthesizer in 1974 with only one oscillator for Mess, his progressive rock band in which he primarily performed his own compositions.
+With the conquest of transistor technology, a handful of enthusiasts built their own analogue synthesizers. Instruments such as these, and later also commercial products that found their way to Estonia, become known through their use in rock bands. [[Sven Grünberg]] is without a doubt Estonia’s synthesizer music pioneer, moving stylistically between progressive rock and ambient music with influences from Far Eastern music. Sven Grünberg developed a [[Härmo Härm]]-built synthesizer in 1974 with only one oscillator for Mess, his progressive rock band in which he primarily performed his own compositions.
 At the end of the 1970s Koit Saarmäe built a modular analogue synthesizer that already had three oscillators and noise generators. It was used by Erkki-Sven Tüür and his rock band In Spe. In addition, Grünberg was eventually given the chance to work on an EMS Synthi-100 in Moscow. It was there that he composed the works »Valgusõis« (Light Blossom, 1978) and the film music for »›Hukkunud alpinisti‹ hotell« (»The Dead Mountaineer« Hotel, 1979). <em><strong>[xiii]</strong></em>
-Jaan Rääts’ »Electronic Marginalia« from 1980 – which can be categorised as classically modern – represent electronic versions of several of his »24 Marginalia for the Piano«, and were dedicated to Kalle Randalu. They were a collaborative effort, recorded partially through improvisation using keyboard-based synthesizers at the Estonian Radio studio. They were mixed by sound engineer Enn Tomson, along with Kalle Randalu and Sven Grünberg.<em><strong>[xiv]</strong></em>
+[[Jaan Rääts]]’ »Electronic Marginalia« from 1980 – which can be categorised as classically modern – represent electronic versions of several of his »24 Marginalia for the Piano«, and were dedicated to Kalle Randalu. They were a collaborative effort, recorded partially through improvisation using keyboard-based synthesizers at the Estonian Radio studio. They were mixed by sound engineer Enn Tomson, along with Kalle Randalu and Sven Grünberg.<em><strong>[xiv]</strong></em>
 The term »computer music« (»arvutimuusika« in Estonian) can be found in a book on contemporary music from 1970 by the founder of Estonian musicology, Karl Leichter <em><strong>[xv]</strong></em>, though the definition – much as that in 1960s radio programmes – assumes the computer to be a mere composition and playback aid. In 1986, a translation of an article by York Höller entitled »On the Current Situation of Electronic Music« appeared in Teater.Muusika.Kino magazine. It had been published two years earlier in the Österreichischen Musikzeitschrift. The article portrayed computer music as the newest and most interesting development in electronic music. <em><strong>[xvi]</strong></em> In the same edition was an article by musicologist Jaan Ross on the application of music and microcomputers, <em><strong>[</strong></em><em><strong>xvii]</strong></em> and an article by Mart Siimer <em><strong>[</strong></em><em><strong>xviii]</strong></em> elaborated on how to use computers in music. The interest in computer music culminated in Mark Rais’ collection and conference activities.

← Older revision		Revision as of 15:47, 27 March 2018
Line 205:		Line 205:
	[xxxv] Christian Scheib / Susanna Niedermayr, »Im Nationalparadies. Estnische Wonnen, deren Grenzen in der Selbstfindung und deren Export über Grenzen. Über die estnische Musikszene«, Redaktionsbuero, 26.06.2007. http://web.redaktionsbuero.at/output/?f=&e=58&page=rb_ARTIKEL&a=64a265cb [31.08.2012].		[xxxv] Christian Scheib / Susanna Niedermayr, »Im Nationalparadies. Estnische Wonnen, deren Grenzen in der Selbstfindung und deren Export über Grenzen. Über die estnische Musikszene«, Redaktionsbuero, 26.06.2007. http://web.redaktionsbuero.at/output/?f=&e=58&page=rb_ARTIKEL&a=64a265cb [31.08.2012].

−	[[Category: Sound Exchange]] [[Category:Estonian Contributions]]	+	[[Category: Sound Exchange]] [[Category:Estonian Contributions]] [[Category: Essays]]

← Older revision		Revision as of 18:10, 5 March 2018
Line 1:		Line 1:
−	[[File:Site-specific sound installation raul keller 2009(1).jpg\|thumb\|right\|Site-Specific Sound Installation by Raul Keller (2009)]] Media-Based Music in Estonia - An essay by Hans-Gunter Lock for Sound Exchange.	+	[[File:Site-specific sound installation raul keller 2009(1).jpg\|thumb\|right\|Site-Specific Sound Installation by Raul Keller (2009)]]
		+	Media-Based Music in Estonia - An essay by Hans-Gunter Lock for [[Sound Exchange]].

	== Introduction ==		== Introduction ==