University of Helsinki Music Research Laboratory and Electronic Music Studio : The first 50 years and beyond

The University of Helsinki Music Research Laboratory and Electronic Music Studio is one of the oldest studios and research facilities of its kind in the Nordic countries. Originally named "Ääniteknillinen laboratorio" (Laboratory of sound technology), the studio was the leading electronic music facility in Finland from the early 1960s to the late 1970s. Built and maintained by Erkki Kurenniemi, the studio served also as an important center for the development of electronic musical instruments. In the mid-1980s, the focus of the studio shifted toward research, first in the form of computer music software development and later in various fields of research. In the fall of 2012, the studio celebrated its 50th anniversary. In the same year, the studio moved from its long-time location at Vironkatu 1 to the Topelia building in the historic center of Helsinki. Lately, the studio has gained new interest in the Finnish media, especially through the pioneering work of Kurenniemi. This studio report describes both recent activities and the early history of the studio.Peer reviewe

Analogisen miksauskonsolin elinkaari kolmen laiteyksilön käyttövaiheiden kautta tarkasteltuna

Miksauskonsoli (engl. Mixing Console, saks. Mischpult) on nimitys musiikkistudioiden keskeiselle äänityslaitteelle. Laite on keskeinen sananmukaisesti, koska se sijaitsee keskellä studion äänitarkkaamoa, eikä laitetta voi olla kokonsa ja sijaintinsa vuoksi huomaamatta. Miksauskonsolin tärkein tehtävä on miksata eli sekoittaa eri äänilähteiden signaalit summasignaaliksi. Konsoli-termi viittaa kaappimaiseen, usein kaltevaan ulkomuotoon ja fyysiseen kokoon. Muita yleisiä laitetyypin nimityksiä ovat miksauspöytä (Mixing Desk, Mixing Board) viitaten pöytämäiseen ulkomuotoon tai pelkkä mikseri (Mixer) viitaten toiminnallisuuteen. Tämä artikkeli käsittelee analogiaelektroniikkaan perustuvien miksauskonsolien kehitystä kolmen esimerkkilaitteen kautta. Erityisesti tekstissä keskitytään käyttäjien tapoihin soveltaa mikseriteknologiaa ja miten käyttötavat ovat yhdessä elektroniikan kehityksen kanssa vaikuttaneet mikseriteknologian kehitykseen.Peer reviewe

Fourier transform and the interpretation of spectrum analysis graphs in music research, part 2

Non peer reviewe

Noin 50 vuotta suomalaista elektroakustista musiikkia

Non peer reviewe

Material tape as a piece of art : Case studies of an inconstant work-concept in Erkki Kurenniemi’s electroacoustic music

Erkki Kurenniemi was a central figure in the Finnish experimental and avant-garde scene during the 1960s and early 1970s. He collaborated with several Finnish and Swedish composers and artists, designed a series of unique electronic instruments and founded the first electronic music studio in Finland in 1962. Kurenniemi’s technologically oriented approach to the composition process challenges the traditional idea of the realization of a musical work – and blurs the definition and meaning of the work-concept. Kurenniemi’s compositions can be roughly divided into two categories: “official” pre-planned works and material tapes. Kurenniemi produced a large amount of electroacoustic material to be used in compositions by him or other composers. Some of this material ended up on audio releases as such and gained the status of a musical work. The use of raw, unedited and unprocessed material gives an interesting starting point in analysing the definition and meaning of the work-concept in electroacoustic music. Here, an overview of Kurenniemi’s electroacoustic music is presented with special interest in material tapes and instrument demonstrations that either have so far remained as such or that have been considered as musical works. Recently, there has been a growing international interest in Kurenniemi’s work, both in the form of art exhibition exposure, audio releases, academic research as well as a film documentary by Mika Taanila. The transformation process of material tapes into pieces of art still continues due to audio releases of previously unpublished material.Erkki Kurenniemi was a central figure in the Finnish experimental and avant-garde scene during the 1960s and early 1970s. He collaborated with several Finnish and Swedish composers and artists, designed a series of unique electronic instruments and founded the first electronic music studio in Finland in 1962. Kurenniemi’s technologically oriented approach to the composition process challenges the traditional idea of the realization of a musical work – and blurs the definition and meaning of the work-concept. Kurenniemi’s compositions can be roughly divided into two categories: “official” pre-planned works and material tapes. Kurenniemi produced a large amount of electroacoustic material to be used in compositions by him or other composers. Some of this material ended up on audio releases as such and gained the status of a musical work. The use of raw, unedited and unprocessed material gives an interesting starting point in analysing the definition and meaning of the work-concept in electroacoustic music. Here, an overview of Kurenniemi’s electroacoustic music is presented with special interest in material tapes and instrument demonstrations that either have so far remained as such or that have been considered as musical works. Recently, there has been a growing international interest in Kurenniemi’s work, both in the form of art exhibition exposure, audio releases, academic research as well as a film documentary by Mika Taanila. The transformation process of material tapes into pieces of art still continues due to audio releases of previously unpublished material.Peer reviewe

Suomen kalliomaalauskohteiden arkeoakustinen tutkimus

The article gives a full report of the sound analysis and visualization methods used for examining the acoustic characteristics of the echoes at prehistoric rock art sites in Finland. The methods developed in the University of Helsinki Music Research Laboratory are exemplified with previously unpublished data gathered mostly during the field season 2018 in the Lake District of southeastern Finland. The primary audio analysis method is multichannel impulse response measurement using a custom-designed tetrahedron microphone array and various types of excitation signals. The impulse responses are used for analyzing both the audio spectrum and angle of arrival of the echoes projected by the painted cliffs using custom-written signal analysis software.Peer reviewe

Acoustic measurements and digital image processing suggest a link between sound rituals and sacred sites in northern Finland

In northern Finland, near the canyon lakes of Julma-Ölkky, Somerjärvi and Rotkojärvi, steep rock cliffs produce distinctive acoustic spaces. On these cliffs, prehistoric rock paintings (5200 to 1000 BC) as well as an ancient Sámi offering site (circa 1100 to present) can be found. Ethnographic sources describe that the Sámi used to sing and listen to echoes while making offerings there. This article presents the results of an archaeoacoustic research project that seeks to explore the role of sound in the development and use of these archaeological sites. The innovative set of methods includes multichannel impulse response recording, angle-of-arrival estimation of early reflections, spectrum analysis, digital image processing and 3D laser scanning. On the basis of the analyses, it is concluded that the cliffs that have been painted or held as sacred are efficient sound reflectors. They create discrete echoes and, accordingly, phantom sound sources. Especially at the Värikallio cliff near Lake Somerjärvi, the sound appears to emanate directly from the painted figures. These results, together with previously unnoticed drumming figures in the Värikallio painting, provide a clue to the significance of the sound rituals at these sacred sites.Peer reviewe

Acoustic Measurements at the Rock Painting of Värikallio, Northern Finland

In Northern Finland, by the rock painting of Värikallio (ca. 3000–500 BC), several echoes can be heard. The most remarkable of these appear to be originating from the painted rock itself. The article presents the first results of the research project that seeks to explore the role of sound in the development and use of Finnish rock art and Sámi offering sites. Field recordings, made at the site of Värikallio in summer 2013, are analyzed with a sound analysis and visualization toolkit, and interpreted with the help of GIS data and a 3D model of the site. A probable depiction of a drummer, identified in the painting in the course of the fieldwork, provides a further clue to the significance of sound rituals at rock paintings.Non peer reviewe