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Kadi Kaja defens her doctoral thesis on 31 October at 14:30 room A-402 for the degree of Doctor of Philosophy (Musicology):

„Music education in Estonian general comprehensive schools (with instruction in Estonian) in 1917–2024. Historical-analytical approach“

Supervisors: Prof. Dr. Toomas Siitan, Prof. Dr. Kristi Kiilu, Urve Läänemets (PhD)

Opponent: Professor emeritus Rein Veidemann, PhD (Tallinn University)

The doctoral thesis is available HERE and in print in the EAMT library.

Summary

This doctoral thesis, Music Education in General Comprehensive Schools (with instruction in Estonian) 1917–2024. A Historical-Analytical Approach, examines the historical development of the content of music curricula from the early years of the Republic of Estonia to the present day. The analysed national curricula (NC) containing music syllabi and subject programmes enabled an exploration of the continuity and significance of music education in the national education system, as well as the dynamics of its development in historical, political, and pedagogical contexts.

In today’s rapidly changing world, educational reforms are frequently undertaken to keep pace with the times and to address the needs of a society. However, innovations, often inspired by international trends, in modifications to content and/or the allocation of instructional time, driven by the available information and its significantly easier accessibility compared to the past.

In Estonia, a well-educated person with a broad cultural outlook is traditionally held in high regard. When considering the future and, in particular, the kind of society we aspire to build, careful thought must be given to what content for learning is needed.

Estonia is among the few countries where music education remains a compulsory component of general education until the end of upper secondary school. Consequently, there are no prior studies of a comparable nature that would enable international comparisons. This thesis seeks to provide a comprehensive account of the development of music education content in Estonian schools, thereby creating opportunities for future curriculum development. The political background, organisational structures of schooling, and their effectiveness, factors that may have influenced music education, are described. The study also offers insights for advancing music education, designing curricula and teaching materials, and training music teachers. In addition, it presents an overview of the impact of music education on Estonian musical traditions and their appreciation in society.

Current curriculum policy debates often focus on the standardising influence of the European Union and globalisation, yet the success of any educational system depends on its stable functioning. Integrating traditional, proven systems with innovative approaches in national school cultures is therefore a particularly complex challenge.

Shaping music education in the 21st-century Estonian general education system requires an understanding of past experiences, which contributed to building a national education system that recognised the important role of music in fostering statehood and national identity. These historical foundations must be integrated with contemporary educational challenges and practical implementation issues. To address the research objectives, two core questions were posed:
1. How have music syllabi evolved, and what factors have influenced their content in different times?
2. Based on the sources analysed in this study, what is the significance and future perspectives of music education in Estonian schools?

Answers were sought primarily through document analysis, supported by semi-structured interviews with subject experts (covering the Soviet period 1950–1991 and the period of regained Republic of Estonia 1991–2024). The study applied two methodological principles: consideration of the historical context and tracing the dynamics of content development. Historical document analysis was combined with semi-structured interviews, supplemented by the qualitative pilot study Perspectives on Music Education in Estonian Schools (Kaja et al., 2023), conducted in 2022–2023.

The document corpus comprised all national curricula, their embedded syllabi, and Soviet-era subject programmes defining instructional content. The contextual analysis also drew on legislation, regulations, and other measures influencing education during the respective periods. Archival material was collected from the Estonian Pedagogical Archive Museum (EPAM), covering the full study period (1917–2024).

In addressing the first research question, three historical periods were distinguished for analysis in terms of context, objectives, and content:
1. Republic of Estonia (1918–1940)
2. Estonian SSR (1940–1991)
3. Regained Republic of Estonia (1991–2024)

Music education in Estonia has developed under markedly different conditions and ideological influences. Over nearly a century, its course has been neither uniform nor stable, but rather characterised by adaptation to maintain music as a compulsory subject in schools despite changing and often challenging circumstances.

For the academic year 2025/2026 non-EU students of music subjects at BA and MA levels can apply for a small number of targeted EAMT scholarships covering either 25% or in exceptional cases 50% of the annual tuition fee. The scholarship is awarded on the basis of a competition.

A scholarship is awarded for one academic year. The scholarships are not paid to applicants directly, but their tuition fee obligation is reduced by the amount of the scholarship. The tuition fee reduction is applied to the spring semester invoice according to the received scholarship amount.

A student may apply for a targeted scholarship if he/she:

• is studying a music major and is enrolled in bachelor’s or master’s studies;
• has a country of origin from outside the European Union and has to pay the tuition fee for non-EU students;
• is a first-year student whose entrance examination result was at least 9 points;
• is a second- or third-year student whose last main subject examination result was at minimum “very good”;
• is studying full-time and completing the curriculum in full (cumulatively at least 30 ECTS credits per semester);
• is not on academic leave;

The allocation of the scholarships for the academic year 2025/2026 will take place based on the applicants’ submitted audition materials.

• Classical Music Performance (all majors), Jazz, and Contemporary Improvisation majors must present video recordings for the audition. Choral and Orchestral Conducting majors must present video recordings and may additionally present a portfolio.

The audition requires the presentation of a recording of a performance without cuts or edits of a programme lasting a maximum of 15 minutes and including at least two pieces for Classical Music Performance and Jazz majors and 2–3 solo and ensemble improvisations for students of Contemporary Improvisation.

• Composition and Music Technology majors must present a portfolio for the audition. The portfolio must include a list of activities in their subject fields, scores, recordings, etc. from the last 2 years.
• Contemporary Performance and Composition (CoPeCo) majors must present a portfolio for the audition. The portfolio must include a list of presented works appropriate to their studies from the last 2 years.

NB! EAMT will not provide separate recording sessions for the purpose of this audition but we offer some suggestions on preparing performance videos.

The recording quality on most modern smartphones is generally very good.
It is easy to make simple video recordings using built-in apps.
They do not generate fan noise.
They can be placed easily on music stands, etc.
You are welcome to use additional equipment, such as external mics, audio interfaces, computer software, etc if you have the expertise to create good results with them.
Small placement changes can have a significant effect, especially at the close distances required by small rooms. Try to identify the optimal setup for the recording or ask a friend to help with the assessment. Brass instruments – perform off-axis to your recording device to avoid wind blasts overpowering the microphone.

Please read carefully the eligibility and audition requirements listed above. In case you are sure that you qualify, please submit your application here, the deadline is Wednesday, 15 October, at 23:59.

NB! Please upload your video files to YouTube or Vimeo and include the link in the online application form. Please upload your portfolio files via the online application form.

The competition committee will consist of the vice-rector for artistic affairs and international relations, the chief coordinators of the departments, and heads of studies of each major.

Should you have any further questions regarding the scholarships or application procedure, please don’t hesitate to contact the EAMT international students’ advisor Liina Deutschler: liina.deutschler@eamt.ee.

The European Union Youth Orchestra (EUYO) is now seeking new members! All applicants for the 2026 Orchestra must be aged between 16 and 26 inclusive on 31 December 2025 and hold passports from one of the 27 European Union member Countries.

The auditions will take place in two rounds:

• Pre-audition for strings on Friday, 7 November @10:00-14:00 in D-511, and for wind, brass and percussion on Wednesday, 5 November @16.00-20.00 in D-511 and on Thursday, 6 November @16.00-20.00 in C-405.
• Final round on Wednesday, 12 November 2025 at 10:00 in D-511

Repertoire
Candidates will be asked to play a prepared piece of their own choosing (eg a movement from a concerto, sonata etc) and a selection of orchestral extracts.
NB! Percussionists will be asked to play a selection of prepared orchestral extracts only (no piece).

How and when to apply
All the candidates are requested to fill in the application on the EUYO homepage latest by 29 October 2025.

Since its founding in 1976, the EUYO has grown into one of the world’s leading symphony orchestras, collaborating with many of the greatest musicians in history, such as Daniel Barenboim, Leonard Bernstein, Herbert von Karajan, and Mstislav Rostropovich. Notably, the orchestra has also worked with its three Music Directors and the current Chief Conductor: Founding Music Director Claudio Abbado, former Music Director Vladimir Ashkenazy, former Music Director and current Conductor Laureate Bernard Haitink, and, since spring 2024, Chief Conductor Iván Fischer. The EUYO, founded in 1976, is by now one of the world’s pre-eminent symphony orchestras that has worked with many of the world’s greatest musicians including Daniel Barenboim, Leonard Bernstein, Herbert von Karajan, Mstislav Rostropovich and particularly its three Music Directors and current Chief Conductor: Founding Music Director Claudio Abbado, former Music Director Vladimir Ashkenazy, former Music Director and current Conductor Laureate Bernard Haitink, and since spring 2024, Chief Conductor Iván Fischer.

The EUYO’s spring and summer sessions are held at its residency in Grafenegg, Austria, followed by concert tours, details of which can be found on the EUYO homepage.

Additional information:
Kai Kiiv
6675 721
kai.kiiv@eamt.ee

The new academic year of the Estonian Academy of Music and Theatre begins on 25 August.

• 10:00 opening meeting of the academic year for the academy faculty and staff will be held at the Great Hall.
• 12:00 opening ceremony for new students at the Great Hall, followed by introductory meetings.

In addition, we are inviting all our first-year students to take part in the orientation week, which will take place from 25 August to 29 August.

International students’ guideline can be found here.

Perrine Madoeuf’s name has been familiar to Estonian opera audiences since 2017, when she made her debut on the stage of the Estonian National Opera in the role of Marguerite in Charles Gounod’s opera Faust. Originally from Lyon, France, Madoeuf has built an impressive career, but the road to the top has not been easy. As a young singer, she had to face both narrow-minded teachers and the rigid structure of the French music education system. In the early years of her career, she lost her voice, and with it, her confidence. But she didn’t let it break her. On the contrary, her dedication and passion for opera helped her rebuild her voice, and after nearly a decade of self-discovery, she found her place in the opera world.

Today, Perrine Madoeuf is more than just a brilliant soloist – since 2024, she has also been sharing her knowledge and experience with young singers as a guest professor of vocal studies at the Estonian Academy of Music and Theatre, inspiring the next generation with her dedication and love for the art of opera.

Perrine recalls her childhood with fond words. “I wasn’t born into a family of musicians, but my mother had always dreamed of becoming one. Coming from a very modest background, she never had the chance to follow that dream herself, so she hoped her children – me, my older brother and sister – would at least give it a go.” So, at the age of five, Perrine began learning the piano at the local music school. But her lively nature and restless spirit didn’t quite suit the piano and before long the instrument was swapped for another one – drums. “I played the drums for a bit, which suited my personality much better, but not my parents, as the drums were in our living room and drove them mad!”

Perrine’s sister noticed a poster at the music school inviting young singing enthusiasts to audition for the children’s opera choir at l’Opéra de Lyon. She helped Perrine prepare and the bold, creative girl with a love for performing made it into the choir. “I got into the opera choir without ever having seen an opera before.” Her first experience of opera is still vivid in her memory – Giacomo Puccini’s Turandot, in which she was performing already at the age of nine. “The prologue of the opera is incredibly powerful. There’s an orchestra and a huge choir on stage. I still remember the overwhelming emotion that swept over me,” Perrine recalls animatedly. “I found myself in the middle of it all and was simply speechless – the intensity of the music was overwhelming! After my first rehearsal with the orchestra, I started to cry because it touched me so deeply. At the end of the rehearsal, I went to my mother and said: ‘This is what I want to do when I grow up!’ It was love at first sight,” she describes. Even today, Perrine becomes emotional whenever she hears the prologue overture of Puccini’s Turandot.

The following years were spent balancing schoolwork and the opera choir. “All my free time was spent with the opera choir. Since performances ended late at night, I often got home around midnight without having had time to do my homework. The next day, I had to wake up at 6 a.m. to get to school. It was very intense,” she admits. “Did it break me? No, but it changed my attitude towards regular school. From the moment I discovered the world of opera choir, which included not only performances but also tours and various exciting projects, going to regular school became difficult for me. Still, it gave me so much! Imagine telling a lively and energetic child who doesn’t particularly enjoy school: ‘We’re going to take you and your friends, dress you up in costumes, and let you play and perform on stage!’ Of course you don’t want to go back to regular school after that – you’ve found what you love and nothing else seems to matter. For me, school became really hard. To this day, I still have nightmares about it.”

From children’s opera choir to the opera stage

At the age of 15, she began studying at the National Conservatory in Lyon – far earlier than most. “My voice wasn’t yet as developed as a professional’s, but I already had a solid foundation and understanding from my time in the opera choir,” Perrine explains. She was a quick learner with an insatiable appetite for music and notes. “I picked things up quickly and thoroughly. I’ve even told my students that, at their age, I could learn an aria I loved in just one day. I ‘devoured’ musical notes,” she says with a laugh. “Every week I’d take on a new piece because I was eager to explore and see results as fast as possible.” Perinne’s progress was remarkable. While most students take two years to complete the course, she finished it in just one. “After the first year, I asked the academic board for permission to take my final exam early, as I was progressing faster than others. But the principal didn’t like the idea. They always found some flaw, some reason I wasn’t good enough.” Despite the principal’s reluctance, which took a toll on Perrine’s confidence, she was still given the opportunity to complete the course in a year. Midway through the academic year, she performed in front of a visiting jury, who concluded that Perrine was on a completely different level from her classmates and should also be allowed to take the exam for the following year. Looking back, Perrine remembers that period as a constant struggle – a time when she had to keep proving that she was good enough.

At the age of 19, Perrine continued her studies at the National Conservatory of Music and Dance in Lyon (Conservatoire national supérieur de musique et de danse de Lyon), under the guidance of a renowned opera singer who had just started teaching. “At the time, no one really knew whether he would be good at teaching or not. For me, the experience turned out to be a disaster – within four months, I lost half of my vocal range under his instruction, and with it, my confidence.” After that ordeal, Perrine decided to leave the conservatoire. Although her choice was met with confusion by some, it was the right thing to do. “I couldn’t find my place at the conservatoire and I was deeply unhappy,” Perinne recalls, adding that the environment was not one that nurtured the growth of a young singer. “People never encouraged you to be your true self. They didn’t see your uniqueness. Instead, they tried to fit you into a mould. That just wasn’t for me.” Perinne eventually regained her voice with the help of her first singing teacher, Evelyne Brunner, with whom she remains in touch to this day and fondly refers to her as her “mother in music”.

A new chapter began at the age of 20, when Perrine was accepted into the opera studio of the Opera Flanders and moved to Belgium. “I thought the doors would now be open for me, but it wasn’t quite that simple. Over the course of four years, I took part in 26 international competitions and auditions, because if you don’t have work, you have to keep putting yourself out there.” She often made it to the finals, but rarely won a prize or landed a role. Perinne described it as exhausting – making it all the way to the final round, only to be passed over for the role and the work. This cycle of constant auditioning went on for ten years – a long time by any standard. “Eventually, things did start to move forward. I began my professional singing career quite early. I got my first contract at just 20, but a contract doesn’t automatically mean you’ll be given roles or actual work.” Perrine points to Estonia and the Baltics more broadly as a positive examples, expressing admiration for how opera houses here treat young, emerging singers. “They really take care of their singers. They trust them and offer opportunities to grow with both smaller and larger roles. They give them a chance, which is a big contrast to places like France where only a select few are chosen. It’s as if the rest simply don’t exist.”

“When I sang in the children’s opera choir, my sister worked as an usher at the opera house. She got to see all the performances staged there. One day, she invited me to see Jacques Offenbach’s The Tales of Hoffmann, where the role of Olympia was sung by Natalie Dessay, who was 29 at the time and still unknown. We went with our parents, and when she sang the famous Doll song (Les oiseaux dans la charmille), I was speechless! Her A in the second octave sounded as if it came from beyond this world. That was the moment I decided that I wanted to become a coloratura soprano. But you can’t simply decide what kind of voice you have. Still, I worked incredibly hard for it. I was 16 when I met my first teacher. I told her I had a final exam coming up and that I wanted to sing The Doll Song, but I couldn’t reach the high notes. She replied in a humorous manner: ‘Mademoiselle, I don’t have a magic wand. But all right, if you want to be a coloratura, then be one! No high notes? Then figure out how to reach them.’ So, I practised and did everything I could to sing these notes. For a while, I did sing as a coloratura soprano, but of course, you can’t turn yourself into something you’re not.” That said, Perinne still admires Natalie Dessay’s talent and voice to this day.

She encourages her students to see university as a place for growth and experimentation. A young singer shouldn’t be met with immediate judgment, but given the space to discover themselves. “You can only do that in a safe environment – and it’s through trying things out that you begin to understand your limits. You have to experiment to find your voice. For example, take Natalie Dessay and Cecilia Bartoli – two brilliant coloratura sopranos. They both sing beautifully, but their technique is completely different. You have to find your own path, because every singer’s instrument is unique. As a teacher, I can’t apply a single ‘recipe’ to every student and expect the same result. It really is a bit like baking – you have to find the right balance between different ingredients,” she says. “I’ve had to endure teaching methods that didn’t suit me, and now, as a teacher myself, I feel a responsibility to turn those lessons into something better. Our voices are an incredibly delicate and unique instrument. There’s no single truth or one-size-fits-all approach. Every voice is different.” As a teacher, Perinne believes the most important thing is to support young singers with kindness. “When you sing, you open your heart. But if the person in front of you takes that open heart and – figuratively speaking – stabs it, they can destroy the joy that should be at the very core of this beautiful profession. If a student feels safe, happy and trusts you, they’ll be able to grow, explore, take risks and feel free to fail sometimes, too. And if something doesn’t go well, that’s fine – we’re not singing at La Scala tomorrow!” she laughs. “You have to experiment to understand how your instrument – your voice – really works.”

Perinne likes to say that the relationship between teacher and student is a mutual exchange – both on the level of knowledge and energy – without a hierarchical structure where one is above the other. “I try to pass on my experiences to my students,” she says. “The lessons I’ve learned from both successes and failures. I’m still an active performer myself. I continue to do auditions, though I no longer take part in competitions. So I remain engaged in that dynamic, and I can share real, up-to-date insight into what young singers need to know: what to expect, how to prepare, how to manage their nerves, and so on. It’s not a distant memory for me – it’s still a very real and important part of the opera singer’s journey. Learning to sing is one thing, but being an opera singer is about so much more than just singing. The world of singing is vast, and technology and the internet have played a huge role in opening it up.” The competition, she says, is intense. “Even I, as an active performer, have to keep up with social media alongside my busy life – it’s simply part of being an opera singer today. Thirty or forty years ago, audition and competition panels were usually made up of opera singers or casting directors. These days, the jury might include people who aren’t singers or even musicians. And such decision-makers often have different criteria: acting ability, stage presence or vocal individuality, rather than just the voice itself. At auditions like these, it’s not enough to rely solely on your voice or technique – you have to bring your whole being and musicality. Repertoire choice also plays a big role. If you find pieces that few others perform, you immediately stand out. One thing is certain, you have to put in the work,” Perrine emphasises. “You need to find your strength and make it your advantage.”

Tallinn has a special place in her heart

Perrine first came to the Baltics thanks to her partner at the time, who was also a singer. “My career started in France, but I grew tired of the snobbish attitudes that often didn’t support local opera singers. What bothered me most was the lack of honesty in how singers were treated. When I came here, I discovered that the opera houses really look after their singers,” she says. Perrine highlights Estonia’s strong opera culture, saying, “Your opera houses are always full! That’s much more than I can say for France, where people often go to the opera just to tick a cultural box.” Her collaboration with the Estonian National Opera began in 2017. At the time, Helen Lepalaan – then head of international relations at the opera house and a visiting lecturer at the Estonian Academy of Music and Theatre – heard Perrine at an audition and offered her a role immediately. Perrine was deeply impressed by Lepalaan’s directness and the decision to start working together came easily.

One of her first roles in Estonia was Marguerite in Charles Gounod’s Faust, followed by a lead role in the opera Roméo et Juliette. “I never imagined I’d be performing French repertoire outside my home country. But actually, it’s wonderful,” she says. “It felt like my destiny – why not take French music beyond my home country and share it elsewhere? I’m more than happy about that.”

Estonia holds a special place in Perrine’s heart. “I was seven months pregnant when I first performed on the stage of the Estonian National Opera. It was a truly special experience. I felt incredibly lucky to be able to sing – pregnancy isn’t easy for many women, especially when you’re working as an opera singer,” she says, recalling how her sage partner at the time was Ain Anger. “I was under a lot of stress and worried my performance would be cancelled, but I had support. I’m very grateful to the Estonian National Opera for that,” Perinne says. She also highlights Ott Maaten, the director of the Estonian National Opera, who first told her about the opportunity to teach at EAMT and encouraged her to consider it. It was EAMT’s rector, Professor Ivari Ilja, who ultimately convinced her to join the faculty. “I’m deeply thankful to both of them,” she adds.

Not everyone can become an opera soloist. What matters is finding your own path

“When we started rehearsals for Carmen in September, I was able to bring some of my students along,” Perrine says. She believes it’s important for young vocal students to get an early look behind the scenes of opera, so they can understand if they have what it takes. “It takes nerve and courage. You won’t realise this in the classroom,” she says. “I know many singers, who, after finishing their studies, realise they’re not cut out to be soloists on big opera stages and choose, for example, a career in the chorus instead. You never know what will happen. I give them the tools to develop, but who they become in the end is up to them. What really matters is finding what makes them happy.”

International career and family life: finding the balance

“I push back against the idea that everything always has to be hard. I have a child who’s often with me. I travel a lot with her, giving her the chance to experience opera, hear different music and be exposed to different languages. Yes, it’s tiring, but also very interesting. I believe it’s absolutely possible to be a mother and have an international career at the same time.” Perinne gave her first concert when her daughter was just one month and ten days old. “She sat in the front row with her father while I was singing. People often talk about those who are struggling and forget about those who aren’t. We go on about how difficult it all is, but in reality, there’s no need to overdramatise,” she says. “You can be a mother and an opera singer – anything is possible. The older I get, the more I allow myself to just be who I am. And with that, I can achieve more.”

The job offer from the Estonian Academy of Music and Theatre came as a surprise to Perrine, but she didn’t hesitate for a moment. “When the offer reached me, I felt it was meant to be, and I knew I had to accept it. Academic life has given me even more opportunities to practise flexibility – juggling a busy travel schedule, performances and motherhood. While it can be challenging at times, I see each day as a gift and a chance to live fully and dedicate myself to what I love most.”

The author of the interview is Jaanika Vilipo. The article was published in the third issue of the Estonian Academy of Music and Theatre magazine (spring 2025).

The photo gallery opens when you click on the image.

Additional admission for the Classical Music Performance (Vocal) are open until 18 August 18 at 5:00 p.m. More information on the academy’s website here.

The Estonian Academy of Music and Theatre is announcing additional admission for a small number of study places for the academic year 2025‒2026 in the following curricula:

Bachelor’s Studies
Audiovisual Composition
Classical Music Performance ‒ Choral Conducting
Classical Music Performance (Voice)
Jazz music (Bass, Percussion)

Master’s Studies
Audiovisual Composition
Classical Music Performance ‒ Choral Conducting
Jazz music (Bass, Percussion)
Contemporary Improvisation
Wind Orchestra Conducting
Cultural Management

Application form is here. Other documents must be submitted via e-mail to: admissions@eamt.ee. DEADLINE is 18 August 17:00.

Entrance examinations schedule is here.

On Wednesday, June 18 at 7:00 PM, the 2025 Graduates’ Gala Concert will take place in the Great Hall of the Estonian Academy of Music and Theatre (EAMT), featuring performances by graduates of the Classical Music Performance Department. Free admission!On Thursday, June 19 at 7:00 PM, a concert featuring graduates from the Department of Composition and Improvisational Music will be held in the EAMT Black Box. Free admission, but a free ticket must be reserved via Piletikeskus!

Also on Thursday, June 19 at 7:00 PM, as part of the XXVIII Suure-Jaani Music Festival, the EAMT Symphony Orchestra will perform at the Suure-Jaani School Hall. The soloists are 2025 graduates and the conductor is Toomas Vavilov. Tickets (18 € / 15 €) are available on Fienta.

On Friday, June 20 at 2:00 PM, the Graduation Ceremony Concert will be held in the EAMT Great Hall, featuring soloists accompanied by the EAMT Symphony Orchestra, conducted by Toomas Vavilov. Admission is by invitation only, but a live broadcast will be available on the EAMT YouTube channel and the big screen on the black box.

Gerhard Bruno Erich Lock defends his doctoral thesis on 12 June at 13.00 room A-402 for the degree of Doctor of Philosophy (Musicology):

“Methodological Contributions to a Cognitive Analysis of Perceived Structural Musical Tension in Contemporary Post-Tonal Orchestral Music”

Supervisor: Prof. Dr. Kerri Kotta

Consultant: Prof. Dr.  Mauri Kaipainen (University of Helsinki)

Opponent: Prof. Dr. Anna Rita Addessi (University of Bologna)

The doctoral thesis is available HERE and in print in the EAMT library.

Abstract:

The basic goal of this dissertation is to intertwine music analysis and music psychology using a cognitive approach. The general aim is to advance analytical methods in order to enhance the understanding of the general object – complex musical structures and contemporary post-tonal orchestral music (CPTOM) – while observing/analyzing the special object of this dissertation – musical tension as a compound phenomenon – that is universally comprehensible but complicated to research systematically. In this dissertation music is understood as environment (publications III, IV). Furthermore, principles of modeling and analogies (publication III) as well as visualization and representation of music (publication II) are presented. The main objective is to detect, describe, make sense of and comprehend structural aspects that purportedly trigger the experience of musical tension as a temporal dynamic wave-like (real-world) phenomenon (TDWP) during attentive listening to CPTOM. The means to achieve this objective are defining and empirically analyzing musical tension in complex, cross-style and sound-centered post-tonal orchestral and symphonic music by the Estonian contemporary composer Erkki-Sven Tüür (b 1959): 4th Symphony/Percussion Concerto Magma (2002) and Oxymoron (2003) for large ensemble. The Introductory chapter presents in section 1 the basic goal and general object, the general aim and special object, the reasons to arrive at a cognitive approach and basic methodological aspects. Section 2 discusses music-theoretical and music- psychological thinking intertwined, introduces important methodological-philosophical matters (e.g. Kantian analytic idealism), temporal dynamic cognitive processes and microgenesis, psychophysical measurement principles, cognitive dynamic listening models, and protonarratives as a “pre-definition” of musical tension. In section 3 key concepts are introduced: music and tension, salience and attention, salience in complex sounds and contemporary music, musical parameters and narrativity. Musical tension has been defined 3music-theoretically as (perceived) structural musical tension (publications I, Ia, IV), later it is identified as Cognitive Musical Tension (CMT) (publication V) and a tension, cognition and narrativity joining cross-domain definition of ‘Perceived structural musical tension’ (PSMT) is presented (publication V, see 3.5). For this dissertation empirical experiments have been conducted with slider-controllers (publications I, Ia, II [N=7, N=6]; IV [N=26]) and the especially developed COSM: Cognitive Octagonal Slice Model (publication IV [N=14]) enabling to detect musical events as Impulses/“moments of change” and their ‘content’, musical parameters, via salience. The research methodology and design in section 4 uses triangulation and presents answers to the guiding questions provided by the especially developed Twelve Strategic Steps for modeling/analyzing of scientific models (TSSM, publication III) aiming at supporting the development of COSM. Section 5 presents extended summaries of and relations between the included publications. Section 6 arrives at the conclusions and implications of this dissertation. The appendices present the re-prints of the included publications (A.1–6); the technical steps to apply the research design of this dissertation (B); methodological questions that appeared after publications I and Ia (C.1–2); and some overall results of the COSM experiment. Data analysis has been conducted with the DBSCAN: Density-Based Algorithm for Discovering Clusters in Large Spatial Databases with Noise via cluster-finding and time series patterns. Specific results of the main study (publication IV) show that a hypothesized higher salience of “secondary” (SP) over “primary” musical parameters (PP) could be confirmed only partly in Tüür’s 4th Symphony/Percussion Concerto Magma. Overall results (see Appendix D) show that the musical parameters “dynamics” (SP), “rhythm” (PP) and “instrumentation/timbre” (SP) as so-called All salience level parameters (AL) are perceived as more salient than the remaining, so-called Basic salience level parameters (BL). This result is in line with general observations/expectations about musical tension, musical parameters as well as Tüür’s compositional tools and his postulated “integrated cognition” goal. The novelties and achievements of this dissertation are mainly methodological: the experiments (including COSM) can be understood as a “psychophysical measurement” procedure detecting “just noticeable difference” (JND) in Impulses/“moments of change” and musical parameters via salience. COSM represents an external, intersubjectively shared spatial standard-object to gain a meaningful audio-visual-salience based Kantian objective understanding of musical tension in CPTOM.

Ilana Makarina defens her doctoral thesis on 10 June at 10.30 room A-402 for the degree of Doctor of Philosophy (Music):

“Pianist as Arranger: Creating the Piano Reduction for Unsuk Chin’s Piano Concerto”

Supervisors: Sten Lassmann, PhD and Maksim Štšura, DMus

Opponent: Mihhail Gerts, PhD

The doctoral thesis is available HERE and in print in the EAMT library.

Abstract:

The performance of late twentieth- and early twenty-first century piano concertos is
frequently hindered by the absence of piano reductions, which are essential tools for the
pianist in the rehearsal and preparation process. This gap limits access to the repertoire and
affects the efficiency and depth of practice. The artistic research project titled “Pianist as
Arranger: Creating the Piano Reduction for Unsuk Chin’s Piano Concerto” (“Pianist kui
arranžeerija: Unsuk Chini klaverikontserdi klaviiri loomine”) aims to produce a piano
transcription of the orchestral part of the Piano Concerto by the South Korean composer
Unsuk Chin (1961) and elaborate on the ways that artistic and pianistic practice inform the
process of a transcribing, and vice versa.

This research seeks to answer to the following three questions: 1) what are the attributes of a
playable, yet musically accurate transcription; 2) how does pianistic experience help to create
a playable reduction; 3) how does the process of creating the piano reduction, in turn, inform
the pianistic practice.

The methodology of making a piano reduction is a three-fold process that synthesises the
ideal concept of the concerto as represented in the full score and the sonic unfolding of the
work as represented in live performances and studio recordings, with personal pianistic
practices. This qualitative case study is led by reflective artistic practice that aims to create
and articulate new knowledge and experience in the field of contemporary piano reductions
and in the field of contemporary performance practice. The outcome of this research includes
the first piano reduction of Chin᾿s Piano Concerto which hopes to contribute to the
dissemination of the work and a model of transferring knowledge between musicological and
artistic practices.

The Music of Bodies, the Dance of Sound
Kristiina Malm-Olesk, Music Culture of Estonian Academy of Music and Theatre

The Estonian Academy of Music and Theatre (EAMT) audio, visual, and music technology festival COMMUTE#7 will take place from May 8 to 16 and carries the subtitle “Well-being”, focusing on mental health. As part of the festival, on May 10 at 7 PM, “Superpositions of Infinite Spaces”, an audiovisual dance performance by Kenneth Flak, a graduating student of audiovisual composition at the Estonian Academy of Music and Theatre, and co-author Külli Roosna, will premiere at the EMTA Black Box. In the interview, Flak shares insights into the inspiration, creative process, and themes of the work, highlighting the interplay between movement, sound, visuals, and the infinite inner landscapes of the human experience.

What does the title “Superpositions of Infinite Spaces” mean? Does it refer to quantum physics or rather to a poetic state?

A little bit of both, but mostly it is a poetic image of the internal state of human beings and the infinite spaces within us. I’m fascinated by the idea that each person is a different infinite space, and I wonder what happens when these spaces layer upon one another. Additionally, there is sound and visuals, where each state of being represents an infinite space of its own. The concept itself is borrowed from quantum physics, but it’s more about the power and potential of the idea rather than an exact representation of quantum physics.

Where did the idea to create this piece come from? What was it inspired by?

It has mainly grown out of the work that Külli Roosna and I have been doing for several years. We start with the body, and what is possible to do with it. We use interactive sound, light and video to expand the body. This process has already lasted for 12 years, with different interpretations along the way. Each piece brings something new.

How and why did you choose this performance ensemble? Why did you decide to involve instrumental musicians?

When using interactive technology, you’re essentially composing your own soundtrack through movement. There’s an ongoing dialogue between the dance and the music. The dancer becomes a musician, the musician becomes a dancer.

The cello and piano were chosen for their sound and expressive possibilities. The cello offers a wide and fantastic range: from deep, full-body resonance to delicate, high-pitched whispers. It’s the sound itself that mattered most. There’s a lot to explore with the piano, both inside and out; it’s an incredibly rich instrument. They complement each other well as a duo.

What kind of movement will we see on stage and what kind of music will we hear?

The movement is rooted in improvisation, but there are also rhythmic and Latin-inspired elements woven into the choreography.

The soundscape blends various forms of electronic music – often algorithmically driven, using tools like SuperCollider and Reaper. Much of the music is coded, allowing for a real-time dialogue between the musicians and the performance. There’s a continuous interplay between acoustic and electroacoustic sound, creating a rich and layered texture.

The musicians work with a mix of guided improvisation and freely interpreted notation. The score is not always traditional, sometimes it’s visual or poetic, giving the performers space to explore sound intuitively while staying connected to the core structure.

What part does video play in the piece?
We are exploring ways to meaningfully integrate video into the performance. It’s easy for video to become just wallpaper – something that’s there but doesn’t add value. In this case, the video contains notational cues that the musicians can interpret and play from – but in a more poetic sense, rather than traditional notation.

How is the piece connected to the theme of the festival (mental health)?

One image that sparked the process was standing on a mountaintop, watching clouds roll in and then suddenly feeling like the world is rushing past you while you stay still. What happens when the solid ground starts to shift, and you’re thrown into the unknown? How do you stay okay when you’re losing yourself?

What kind of impact do you hope the piece will have on the audience? 

The piece has the potential to create a strong kinaesthetic resonance while watching. Everyone is likely to experience it differently. For example, when I watch dance, I tend to focus on the movement. I’m not searching for a narrative, I’m following the flow of possible meaning. Some people might start looking for a storyline, but for me, the focus is on the kinaesthetic experience. It’s meditative, allowing something to come and resonate with you, without the need to label or define everything.