Musiikki

Kulttuurin tulevaisuus – who cares?

Inka Rantakallio — 2024-06-21

Kulunutta kevättä on luonnehtinut vilkas keskustelu kulttuuripolitiikasta. Sen yhtenä pontimena on ollut hallitusohjelman mukaisen kulttuuripoliittisen selonteon valmistelu samaan aikaan, kun valtiontalouden säästöt ovat merkinneet monien kulttuuritoimijoiden ja -laitosten toimintamahdollisuuksien heikentymistä. Toisena pontimena on ollut keskustelu tekijänoikeuksista ja luovan alan toimijoiden korvauksista ja kolmantena lisääntynyt tutkimustieto korona-aikana, terveysturvallisuuden nimissä harjoitetusta valtapolitiikasta, joka osoittaa kulttuurialan heikon aseman yhteiskunnassamme.

Säveltäjä propagandan välineenä

Juha Torvinen — 2024-06-21

A composer as a propaganda tool: Erik Bergman in National Socialist Germany 1937–1943

This article examines the work of composer Erik Bergman (1911–2006) in National Socialist Germany. The topic has not been studied before. Bergman made four trips to Germany between 1937 and 1943. He initially studied composition privately with the composer Heinz Tiessen (1887–1971). In 1943 he was awarded a scholarship from the Alexander von Humboldt Foundation to study at the Berlin State Music Academy (Staatliche akademische Hochschule für Musik Berlin). He was the only student from the Nordic countries in the academy. In addition to his studies, Bergman worked as a music journalist for Deutsche Europasender propaganda-radio and reported on his experiences for the Finnish magazine Hufvudstadsbladet. Scholarship status and work as a journalist meant in practice that Bergman was politically instrumentalized and became a tool of Nazi propaganda.

Bergman studied in National Socialist Germany for many reasons. During the war, the possible destinations for a Finn were limited for political reasons. Finland had long cultural ties with Germany, and it was common among Finnish intellectuals to regard Hitler’s reign as an anomaly in the long and valuable history of German cultural influence. Furthermore, even after the acts of the National Socialist reign of terror, Germany was still a musical powerhouse. Bergman was not a Nazi sympathiser. But like many of his German and Finnish colleagues, he tacitly accepted the Nazi atrocities at least until the summer of 1943. After the war, Bergman recalled his years in Germany with an emphasis on his own apoliticism. The article concludes with an analysis of the latent politics of Bergman’s ‘apoliticism’ and its significance both for his time in Germany and for his modernist turn in the 1950s.

Eliitin taidemuodosta kaiken kansan taiteeksi?

Liisamaija Hautsalo — 2024-06-21

In this article, I have examined the Finnish so called fur cap opera of the 1970s and the political and social factors that influenced its development. With the help of the concept of vernacularization, I have shown the mechanisms by which Finnish opera was transformed into an art form that spoke to a wider audience than the narrow elite, the “fur cap opera”. According to my article, the background of the process of vernacularization of the opera in Finland was the idea of social equality that started in the 1960s, which was linked to welfare state thinking, and which was especially promoted by left-wing parties.

In the process of vernacularization the libretto and staging of the operas were ”popularized”, and this happened with the help of realistic folk depiction and music theatre. During this process, the opera changed to conform to the values of the Finnish society of the 1960s and 1970s.