Northern Perspectives on Music and Culture

By Sallis, Friedemann; Sivuoja-Gunaratnam, Anne | Intersections, January 1, 2005 | Go to article overview

Northern Perspectives on Music and Culture

Sallis, Friedemann, Sivuoja-Gunaratnam, Anne, Intersections


We are very pleased to present a selection of articles written by Finnish and Canadian scholars on subjects that examine cultural aspects of the composition, the performance, the reception and the interpretation of music. One common thread linking the authors is the fact that we all presented papers at the 7th Symposium for Music Research in Finland organized by the Suomen Musiikkitieteelinen Seura [Finnish Musicological Society] and the University of Turku from 15 to 17 May 2003. This project began innocuously enough as a motion adopted by the executive board of the Canadian University Music Society (CUMS) in 2001. The motion mandated Friedemann Sallis and Edward Jurkowski to explore the possibility of establishing a collaborative project with the Finnish Musicological Society. Contact was made with Tomi Mäkelä, who together with Sallis, worked out the idea of having a group of CUMS members present papers at the annual meeting of the Finnish Society and cobbled together a theme: Northern Perspectives of Music as a Vehicle for Cultural Transmission. A program committee was struck consisting of Edward Jurkowski, Jukka Louhivuori, Tomi Mäkelä and Anne SivuojaGunaratnam, and a call for papers was organised by CUMS. In the end, six CUMS-members presented papers at the Turku meeting.

Beyond the obvious value of academic exchange per se and notwithstanding the fact that numerous Finnish and Canadian scholars and artists have established long-standing, fruitful working relationships, this project was motivated on the Canadian side by the belief that our Society should more actively encourage and promote exchange projects with similar-sized societies outside of North America. At the time (2001-02), there was much ominous rumbling about the establishment of some kind of "fortress America." We felt we should be doing more to open up new avenues for dialogue and to actively seek out discussion partners, whose perspectives are different from our own. Despite obvious linguistic and cultural differences, Finland seemed a perfect fit. As well as latitude and some winter sports (particularly ice hockey), we share the experience of living next to large, often insensitive super-power neighbours. As independent nations, Finland and Canada are both relatively young; a point, which also underscores an important difference. Whereas Finland seized its independence from Russia in 1917 in the aftermath of the Bolshevik revolution, Canada has never completely broken its ties with its colonial past. Though it often appears anachronistic to others, the monarchy, the most obvious link with our colonial past, has been conspicuously maintained down to the present day. Both countries are officially bilingual. Swedish is an official language in Finland. Today it is spoken by 5.53% of the population. However at the beginning of the twentieth century, Swedish was the language of the cultured and the educated; for example Jean Sibelius's mother tongue was Swedish, though he also had a good command of Finnish. In both countries, a small, primarily urban population, located in the relatively clement south, holds sovereignty over vast expanses of northern territory. Due in part to the uneven distribution of population, the cultures of both countries are marked by strong regional identities, which are not necessarily well-known outside of their respective borders. Finally both countries have culturally distinct indigenous populations, which constitute a significant part of the population of their respective northern territories.

The Canadian University Music Society and Suomen Musiikkitieteelinen Seura are also about the same size and because they are both relatively small (at least when compared with mastodons like the AMS), they tend to be inclusive, large-tent organisations, encompassing historical musicology, music theory, popular music studies, ethnomusicology, music education, and performance. Where we lack critical mass in any specific field of study, we gain in our ability to organise discussion and orient debate across disciplinary boundaries. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Cite this article

Cited article

Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)


1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

Cited article

Northern Perspectives on Music and Culture


Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25,

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.