Rahvatantsuharrastus paguluseestlaste hulgas ja selle roll eestluse säilimisel

The current article is based on the research carried out among expatriate Estonians living in Germany. The aim of the research was to obtain an general understanding of the evolution and development of Estonian folk dance groups and the inception of these groups in the Federal Republic of Germany after the Second World War. The first target group was the Estonian expatriates in Germany, since German war refugee camps were the first stop for many refugees on their journey. Interviews were conducted with 13 expatriate Estonians in Bocholt, Bonn and Hamburg in 2007. The study attempts to answer the following questions: What gave rise to such active hobby activities, including the establishment of folk dance groups, in German refugee camps? Why were these groups formed also in different places in Germany later, after people had left the refugee camps? What could be the main reasons for and the general context of such a phenomenon?The article describes the motives for practicing folk dancing as a hobby, the everyday activities of folk dance groups – repertoire, practicing, music, folk costumes and performances, what has become of the folk dance groups since their establishment and the role of folk dance in the life of expatriate Estonians. Aside from the previous aspects, the functions which describe the role of folk dance – preservation of continuity; organisation of community; social interaction and welfare; preservation of Estonian language; self-determination – also stood out in the analysis of the interviews. Cultural pursuits formed a positive link between the past and the present, taking on a balancing role in the tragic understanding that seeking temporary asylum had become a constant state in exile and this prevented people from being trapped in the disconsolate condition of a refugee. Folk dance was not purely a hobby but a place where the Estonian language was spoken and learned; it helped people to stick together in difficult times, define themselves in the wind of changes and introduce Estonia in a foreign country by means of dance and folk costumes

Lemmikud

Käesolev diplomitöö on kirjalik osa Kristel Kutseri loov-praktilisest lõputööst. See annab ülevaate kontserdist - kuidas töö autor on valinud lood kavasse ning mismoodi on nendega varasemalt tööd teinud.http://tartu.ester.ee/record=b2611208~S1*es

Stiliseeritud eesti tantsu loomise mõju vene rahvusest tantsuõpetajale : tantsuõpetaja kutse lõputöö

http://www.ester.ee/record=b5143350*es

Viron Inkerin tanssit – Kadrelia, kasatškahia ja Viron veräjää

The article discusses three dance texts from Estonian Ingria that are included in the collections of the Estonian Folklore Archive and have been published in different ways in different periods. The focus of the article is on Ullo Toomi’s work as collector, arranger and choreographer from the 1930s until the 1950s. During his field excursions Ullo Toomi did not observe informal dance events, but the ones that were performed by an experienced group with its own repertoire. Since there are only few studies and publications about the Ingrian dances, Ullo Toomi’s work has a vast importance in all its levels, from the fieldwork to publications. Toomi’s dance publication styles varied according to the time of the publication: before the Second World War he tried to follow, as exactly as possible, the original fieldwork material, but later on, in the 1950s, the original material functioned only as a basis for new national stage dances that Toomi was constructing. The method in this article is to compare and reconstruct dance texts so that we could understand them better, and to place dances into their contexts. By comparing the different variants, it is possible to learn about Toomi’s style as a dance arranger.The article discusses three dance texts from Estonian Ingria that are included in the collections of the Estonian Folklore Archive and have been published in different ways in different periods. The focus of the article is on Ullo Toomi’s work as collector, arranger and choreographer from the 1930s until the 1950s. During his field excursions Ullo Toomi did not observe informal dance events, but the ones that were performed by an experienced group with its own repertoire. Since there are only few studies and publications about the Ingrian dances, Ullo Toomi’s work has a vast importance in all its levels, from the fieldwork to publications. Toomi’s dance publication styles varied according to the time of the publication: before the Second World War he tried to follow, as exactly as possible, the original fieldwork material, but later on, in the 1950s, the original material functioned only as a basis for new national stage dances that Toomi was constructing. The method in this article is to compare and reconstruct dance texts so that we could understand them better, and to place dances into their contexts. By comparing the different variants, it is possible to learn about Toomi’s style as a dance arranger

Eesti pärimusmuusika osa üldhariduskooli gümnaasiumi astmes Pärnu linna gümnaasiumite põhjal

Käesoleva bakalaureusetöö aineks on eesti pärimusmuusika osa üldhariduskooli gümnaasiumiastme muusikaõpetuse tundides. Nimetatud teemal ajendasid mind kirjutama mitmed olulised põhjused: minu tulevane töö õpilastega, uus riiklik muusikaõpetuse õppekava, mitmed artiklid ning arutelud seoses faktipõhiste ja teoreetiliste muusikatundidega. Eesti pärimusmuusika osa sisseviimine õppekavasse on alles algusjärgus, seega pidasin vajalikuks uurida õpetajate nägemust selle rakendamisest.http://tartu.ester.ee/record=b2608707~S1*es

Kevad emadele

Loov-praktilise lõputöö eesmärgiks oli teha Suure-Jaani Kooli Vastemõisa õppekohas kontsert, milles autor näitas omandatud oskusi ja teadmisi. Kirjalikus töös andis autor ülevaate oma õpi- ja töökogemustest, tutvustas juhendatavat mudilaskoori, kirjeldas kavandatud eksamikontserti, selle kava koostamise põhimõtteid ja repertuaari valikut.https://www.ester.ee/record=b5420436*es

Rahvapärane viiulimäng 20.sajandi esimesel poolel Tori ja Vändra viiuldajate näitel

The article gives an overview of the most well-known village fiddlers in Tori and Vändra parish, their repertoire, playing style and status as dance music players in the first half of the 20th century. This is one of the first efforts to try and describe Estonian traditional instrumental music from the inside so to say. First, the author learned to play the Estonian type of waltzes and polkas gathered from the local village musicians in her neighbourhood and used traditional method of learning by ear. Contact with the old fiddlers has been created artificially using the help of archive recordings datingback to the years 1936 and 1937. Following the personal experience of playing old fiddle tunes the author started transcribing and examining the tunes systematically.At that time both solo and duo performances were recorded from Tori and Vändra fiddlers. Those recordings compile the research material for the present article and on the basis of the recordings it is possible to describe how the fiddlers played back then. Transcriptions give an insight to the approach to form of the music and playing technique used in the fiddle tunes. Briefly, the body of those characteristics can be called the manner of playing the description of which introduces the musical thinking of village fiddlers and the overall characteristics of the performed music.What can be said to describe the traditional manner of playing based on the example of Tori and Vändra parish fiddlers? The districts of Tori and Vändra in the first half of the 20th century can be characterised by playing in fiddle duos. Compared to what was going on in Estonia of that time generally, it is not unique, because there were alsofiddle duos elsewhere. What is special about Tori and Vändra duos is how they wereplayed in. When playing in duos fiddlers used two different ways of playing. The first ofthem, one of the most characterising ones, is imitating bagpipe with fiddle, which wasonly used by Tori fiddlers. Imitating bagpipe is definitely one of the earliest of way ofplaying in terms of age in our old fiddle music. The other way of playing in duo performancesis simple polyphony based on functional harmony.Fiddlers made the melodies of Estonian type of waltzes and polkas more interestingand richer using polyphonic fiddle playing technique and embellishments of melodynotes. They used embellishments (mordents and upbeats) when they “felt like it”.Such means make a piece of music airy and general impression of the playing technique rather masterly.The structures of the analysed fiddle pieces are simpler and also of a rather surprising (and random) construction as compared to composed classical music. This is what makes the music under survey so exciting. Each piece offers something new and unexpected – prevalently the predictable and expected systematic thinking does not exist. In case of Estonian type of waltzes as well as polkas the most important idea is that the piece of music had a continuous metrum to support dancers in their dance. As a result of form analysis it appeared that different playthroughs of Estonian type of waltzes are freer in terms of their construction, or more improvised, polkas on the other hand are more stable. The dominant factor in the development of playthroughs proved to be the number of members in the performance. If it is a solo performance, the variations in different levels of form are more frequent than in case of a duo performance. It is also understandable as the co-play of at least two people requires previous agreement in approach to form.The playing style in traditional music, as a form of music learnt by ear, is quite individual in each player. At the same time it can be observed that the playing styles of two players living close to each other generally do not differ significantly. The same can be seen in the analysis of the fiddle players’ playing styles in the present research. The playing styles of fiddle players who live close by and play together are more similar to each other

Rahvatantsupidude trükimeedia kajastuse analüüs (2007., 2009. ja 2011. aastal)

The goal of this bachelor thesis on the subject on analysis of the Folk Dance Celebrations coverage in print media (years 2007, 2009 and 2011) is to study media coverage of Estonian Dance Celebration and the factors affecting the media coverage taking examples from last 3 Dance Celebrations in 2007, 2009 and 2011. The methods used in this paper include quantitative content analysis and content analysis of 3 experts interviewed. The sample contained 386 articles from Estonian newspapers that had anything to do with the Dance Celebrations. Articles were coded using a coding instruction made specifically for this paper and analyzed by the quantitative indicators. Interviews were taken with 3 experts – newspaper reporters who were thoroughly involved with the media coverage of the Dance Celebrations. The analyzis discovered, that main aspect regarding the media coverage of Dance Celebrations is traditionality which can be seen both in the content and form of the coverage. Periodically, most of the coverage was accumulated to the period of the Celebrations themselves. Most important topics covered were the concerts of the Celebration, the preparating process and regional events regarding the Celebrations. Most of the coverage by genre was written as news and had either positive or neutral tonality. There were a lot of opinions and facts presented while analyzes were being avoided. Mostly covered persons were the dancers. They were covered both in pictures and texts as passive, but positive characters. Spoken characters were rather dance instructors or regional folk-culture specialists. The most important factors affecting the media coverage was the traditional form of the event of the Celebrations. There are certain topics and ways on how and what to cover. The purpose of the media coverage includes many different levels starting from social purposes to individual purposes. On the social level it is important for propagating nationality and unity of a nation, while on individual level the main goals were to educate the readers and creating a context for an upcoming concert. Regarding the long traditional history of the Celebrations, this current paper focuses on a very short period of the media coverage. It would be useful to study the prevoius coverages and from there on start looking at the wider meaning of Estonian Dance Celebrations. Since this paper focused on writers and texts, then the auditory aspect in the context of Celebrations remains yet to be studied.http://tartu.ester.ee/record=b2612169~S1*es

Diatoonilise kandle repertuaari seadmine kromaatilisele kandlele Joosep Kotkase ja Alfred Kuusi repertuaari põhjal : loomingulise magistrieksami kirjalik osa

http://tartu.ester.ee/record=b2556620~S1*es