Annual Review 2009
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Index 4 6 9 12 14 17 19 21 22
A Common Goal and Courage – Ingredients for Success International Cooperation Enriches Everyday Work Helsinki Music Centre – Now a Reality Flowing Across Musical Boundaries Research Produces Real Tools for Everyday Work Who Says Old Partners Are Boring? Interaction with Performers Creates an Impact Key Figures: Staff, Finance and Concerts Key Figures: Students and Degrees
Publisher: Sibelius Academy Editors: Karoliina Pirkkanen, Kaisa Raitio and Juha Sjöblom Translations: Elävä Kieli–Vivid Words Layout and design: Pia Myllymäki, Oranssi Design Photography: Niko Rakkolainen, Gustav Djupsjöbacka: Wilma Hurskainen Printing: Nykypaino, Helsinki 2010 ISSN 1797-4732 (print) ISSN 1797-4771 (electronic version) Copies of the annual report can be ordered from Sibelius Academy communications, tel. +358 40 710 4319, info@siba.fi
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A Common Goal and Courage – Ingredients for Success The work of an orchestra is a joint effort, one based on communication between the musicians and instrument groups, the leader and the orchestra. A simpler version of this is the chamber orchestra. “That is where we should look for ingredients for people-based cooperation,” says Gustav Djupsjöbacka, the rector of Sibelius Academy. – In a functioning chamber orchestra, individuals have the courage to voice their opinions and pose questions while listening to what others have to say. In order to achieve harmony, everyone should understand the common goal but be bold and independent just the same. Counterpoint and Accompaniment for True Harmony
The different instruments of a chamber orchestra complement one another: a quartet of only violins would sound rather monotonous. The mission of Sibelius Academy is to foster and renew musical culture in Finland. Respect and the acceptance of differences are prerequisites for this goal. The best memories are often of playing together. – Looking back on the year, we can see how the instruments of our proverbial orchestra – the people of the Academy – work in unison on a multitude of levels. Djupsjöbacka had a chance to experience a new kind of ensemble in autumn 2009, when the new board of Sibelius Academy began its work. – The past year has taught me to adopt new roles, to understand my own limits and to rely on the expertise of colleagues, the rector summarises.
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International
Cooperation
Enriches Everyday Work
As one of the largest music universities in Europe, Sibelius Academy is strongly involved in international activities. One of the most eventful international visits of 2009 was in February, when the Sibelius Academy Symphony Orchestra travelled to Abu Dhabi, UAE. What should you do when you are told to disassemble the timpani, which puts the concert in jeopardy?
For Peruvian David Claudio, the visit to Abu Dhabi was his first trip as the orchestra coordinator of Sibelius Academy. David says that correspondence with the country began well in advance, and practical arrangements were made in cooperation with Abu Dhabi Classics, the German organiser of the concert. Arrangements went smoothly: everything was handled with Scandinavian and German punctuality, and Claudio was able to gain a lot of insight into international cooperation. – During the arrangements, I was advised to check in all instrument cases on the flight as my own luggage to make the journey easier. I am sure I had the most luggage of anyone: fourteen instrument cases, including six doub le basses, four timpani and a tuba, Claudio smiles. Please Disassemble the Drums
When an 80-strong group and their instruments are travelling thousands of miles, the orchestra organiser has a number of practical problems to resolve. The meeting of cultures began immediately upon arrival at the airport in the UAE. The instrument arsenal of a Western orchestra was quite foreign in the Arab world, and the first obstacle was when the timpani cases would not fit through the airport scanning equipment.
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– We were told to leave the cases on the plane and continue the journey carrying the bare instruments. We tried to explain that the instruments could not travel on a long car journey without any protection, Claudio recounts. After hours of to-ing and fro-ing, the security officer decided that the instruments should come off the plane without the cases, and requested that the timpani be disassembled so that the authorities could inspect the content. Finally, the situation was resolved when the authorities were informed that the orchestra had been invited to the Abu Dhabi Classic festival by the Sheikh himself. Once the rehearsals got into a full swing and the concert was approaching, work was very much the same as back in Finland. Rehearsals were held at a British school, where the orchestra organiser was in charge of the musicians’ seating order, note stands, stage platforms and other practical arrangements – just like in Finland. Listening to Claudio’s stories, it is clear that the work taught him about the importance of flexibility and interpersonal skills. – In this job, you are solving minor problems on a daily basis, and you sometimes have to compromise – for example, if the conductor and the musicians have different requests about the seating order or other such matters, Claudio explains. g
International highlights of 2009
• GLOMAS (the Nordic Master of Global Music): Sibelius Academy took part in the planning of a new Nordic degree programme. • Creative Dialogue 2009, Santa Fé. In the secondever Creative Dialogue workshop, seven young cellists from top American universities and Sibelius Academy took part in a 10-day intensive course led by cellist Anssi Karttunen. • The House of the Sun, Austin, USA: A joint production of the Sibelius Academy opera class and the Butler School of Music at the University of Texas at Austin. Einojuhani Rautavaara’s opera The House of the Sun was performed both in Järvenpää, Finland, and on the campus of the University of Texas at Austin. The Lighting and Sound Design department of Helsinki Theatre Academy also took part in the project. • ECMA – a European Chamber Music Academy master class, Järvenpää: ECMA, the European network of chamber music brought together top young talents from all around Europe to the Kallio-Kuninkala Course Centre in Järvenpää. The teachers were violinist Shmuel Ashkenasi, pianist Avedis Kouyoumdjian and cellist Marko Ylönen. • The international week at the Graz University of Music, Austria: The new music hall of Graz hosted Sibelius Academy’s chamber music trio (Väinö Jalkanen, piano; Taavi Oramo, clarinet and Tina Brännkärr, viola) and clarinettist Sara Sarvamaa, who played in a concert with the symphony orchestra of the Graz University of Music. • ABAM’s composer event, Rostock, Germany: The composer event of the Association of Baltic Academies of Music was attended by three Sibe lius Academy students. the international sibelius academy
• The international activity at Sibelius Academy comprises teacher and student exchange, international master classes, educational development projects and visits. • Sibelius Academy works in cooperation with approximately 150 educational institutes. • In 2009, 49 Academy students and 31 teachers took part in overseas exchange. • The Academy received 59 students and 23 teachers from overseas. • In 2009, 11% of students in basic education programmes and 12% of those in doctoral programmes were from overseas.
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Helsinki Music Centre –
Now a Reality “There it is, almost complete.” Project manager Pekka Ritaluoto, technical designer Pekka Purhonen and project manager Mika Vidgrén can see the results of their hard work for themselves. During the construction, the three men have seen the halls taking shape from the rafters to the bottom of the pit while browsing the drawings with frozen fingers in the bitter cold of winter 2009. – The Music Centre became a reality in the past year, as the walls rose up and we finally moved from the drawing board to the construction site. It is a ‘Wow’ moment for an amateur builder, Ritaluoto describes the feeling.
Concert Hall, Helsinki Music Centre
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Purhonen, Vidgrén and Ritaluoto.
A Project of Multiple Partners Requires for the Long-Term
Meetings between different partners and work groups has meant countless working hours while construction is in full swing at the site. – Every day, we have had to make decisions which reach far into the future, Vidgrén muses. As the centre is designed as a community for several different operators, a vision in all different directions is a must – the ability to match the expectations and wishes of the developers, the other operators, the subcontractors and the people of Sibelius Academy. The three men have created vast networks in the process. – Of course, everyone has opinions, needs and a voice – on the other hand, what is needed is a single voice and a clear message from Sibelius Academy which all of our numerous partners can identify and use as a guideline, Ritaluoto points out. In 2009, the Music Centre project was reorganised internally at the Academy. A steering group was established to oversee the project team which meets regularly to prepare all the different aspects of life at the new premises in 2011. The trio praises the team’s collaboration. However, plenty of work still remains. – The further the construction progresses, the more specific our work becomes, says Purhonen, who has dubbed the team the Barge (in Finnish, “Proomu”). g
• The Music Centre will house Sibelius Academy, the Finnish Radio Symphony Orchestra and the Helsinki Philharmonic Orchestra. • Sibelius Academy will occupy approximately half of the premises. In addition to teaching and administration facilities, the university will have five new halls: Camerata, Organo, Black Box, Sonore and the Auditorium. • The concert hall and the rehearsal room are shared between the three operators. • On 5 September 2009, the construction site was open to the public during the “Construction Party” event. • The winners of the art competition have been announced: The outdoor area competition was won by Reijo Hukkanen with a work entitled Laulupuu (Song Tree) and the winning entry for the main lobby was Kirsi Kaulanen’s Kaiku (Echo). • Construction has progressed on schedule, and the Helsinki Music Centre is due for completion in late February 2011. The opening ceremony will be held on 31 August 2011.
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ANNUAL REVIEW 2009
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A g c r n i o ss w o l F
c al Bound i s u M a ri e s
In November 2009, the people of Sibelius Academy spent a week getting to know each other and finding out the answers to the following question: “What is everyone else doing at SibA?” During the “Zoom In Week” event, teachers, students and administrative staff attended master classes, workshops, lectures and exercise classes, working together and allowing knowledge and experience to flow freely across administrative structures and musical boundaries. One of the 50 events held during the week was the willow flute workshop held by musician Kristiina Ilmonen, a teacher at the Folk Music Department. The workshop was attended by experienced players as well as those with no experience with wind instruments. Crossing one’s own musical boundaries was one of the objectives of Zoom In Week: the idea was to encourage everyone at the Academy to discover and try something completely new. – The willow flute or overtone flute is a fun instrument for beginners. It is instantly accessible and easy to produce sound with. We start with a small scale of notes, Ilmonen explains. Improvising Together Promotes Cooperation Skills
In Ilmonen’s workshop – as in folk music in general – improvisation plays an important role. As Ilmonen points out, it is one of the strengths of the Folk Music Department as well as an integral pedagogical tool. – For us, each voice is important and valuable – and it is important to have fun, too. When we improvise together, we learn cooperation skills which we can use to our benefit in all forms of interaction. In music, finding a common frequency is based on trust and feeling secure, Ilmonen describes. g
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• The first ever Zoom In Week was held at Sibelius Academy from 9 November to 14 November 2009. • The week consisted of some 50 events organised around four different themes: wellbeing, ergonomics, career skills and melting pots (workshops for all departments). In addition, there were 20 other side events. • The events were open to both students and staff. • There were approximately 700 registrations in the programmes. Some events did not require advance registration. • The next Zoom In Week will be held from 1 November to 5 November 2010.
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Research Produces
Real Tools for Everyday Work
For Doctor of Music Olli Vartiainen, 2009 was the culmination of a long endeavour. Vartiainen, who has worked as an orchestra leader and teacher for many years, began his doctoral studies back in late 1990s. Hard work was rewarded when the Development Study Programme was completed and the thesis submitted for approval. For Vartiainen, the Development Study Programme – one of three doctoral study programmes at Sibelius Academy – was the natural choice. In his research, Vartiainen examined the resources of student orchestra leaders, creating new tools for leaders in the process. Modesty – A Healthy and Integral Part of an Orchestra Leader’s Work
The everyday work of teaching young musicians requires a lot of cooperation skills. The leader must be closely tuned into what goes on in the orchestra, and interaction skills are crucial. After all, a leader’s success depends on his followers. – Modesty is quite important for teachers, as is respect for both students and one’s colleagues, Vartiainen explains.
Orchestra leaders have various different roles in music institutions. They look after scores and act as caretakers while directing the orchestra – but they also serve as supporters and educators of young musicians. Juggling all these tasks requires strong interaction skills, and as Vartiainen found in his research, these skills have received little attention in the education of music instructors and student orchestra leaders thus far. Peer support is also needed: it is a relief to know that you are not alone with your problems, and that the fault is not necessarily behind the baton. – In these respects, the training does not quite match the needs of the work environment. Obviously, technical conducting skills are a must, but the social side is also very important, especially when working with young people, Vartiainen points out. The new doctor says that he has learned a lot in the process: he examined his own work as part of the research, processing and verbalising his own experiences. – I am so lucky to have been able to carry out this research. The study process strengthened and developed my professional identity both as an orchestra leader and as a teacher, Vartiainen says happily. g
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DOCTORAL DEGREES AT SIBELIUS ACADEMY • The doctoral degrees at Sibelius Academy are the Licentiate of Music and the Doctor of Music. There are three programme options: the Artistic Programme, the Research Programme and the Development Study Programme. • Artistic study includes artistic projects and performances (concerts and possible recordings, compositions for composer students) and the written work. • The Research Programme consists of the thesis and supplementary studies. • In the Development Study Programme, students choose the art or the research option. The studies can include concerts, recordings, compositions,
notation publications, teaching demonstrations, learning material, equipment, software etc. Students specialise in a specific topic in music, acquiring the necessary knowledge and skills. The aim is for the student to gain new expertise which can be applied in the field of music. • All doctoral studies include studies in the philosophy of science and arts. • A total of eighteen Doctor of Music degrees were completed at Sibelius Academy in 2009: twelve in the Artistic Programme, five in the Research Programme and one in the Development Study Programme.
RESEARCH ACTIVITY IN 2009 • Professor Anne Sivuoja-Gunaratnam’s research project entitled Suomalaisen teatterin lauluosasto (1873–1879) mikrohistoriallisesta perspektiivistä kertomusten, esityskäytäntöjen ja äänten polyfoni ana received a €500,000 grant from the Academy of Finland for 2010–2013. • At the Music Education Department, research into the role of immigrants in Finnish music has begun. The project will last from 2009–2011, and it is funded by the Academy of Finland (project title: Att utforska demokratin: Föreställningar om invandrar elevers utveckling av musikaliskt aktörskap). The research is being done by professor Sidsel Karlsen. • Professor Vesa Kurkela completed his three-year project funded by the Academy of Finland and enti-
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tled Music cultures and corporate culture. Changes in music broadcasting in Finland, 1963–2005. The project examines the development of music broadcasting and the development of music radio programming in Finland. • Ulla-Britta Broman-Kananen, a research fellow at the Academy of Finland, completed her project entitled Kvalitet som dialog och tid. Forskningsprojekt om ett musikuniversitet i omvandling. • Research publications included two books in 2009: Vesa Kurkela, Sävelten markkinat. Musiikin kus tantamisen historia Suomessa. (Helsinki: Sulasol, 2009) and Decanonizing Music History, ed. Vesa Kurkela & Lauri Väkevä. (Cambridge Scholars Press, 2009).
Who Says Old Partners Are Boring?
Sibelius Academy and Itella began their cooperation back in 2005. The long relationship is anything but stale: over the years, cooperation has developed into a valuable partnership for both parties.
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• Sibelius Academy took an active approach to the new opportunities afforded by the Universities Act reform. A new post was created for a relations manager to support corporate relations. • The updated corporate collaboration model was completed in autumn 2009 in cooperation with Pink Eminence, a company which builds strategic connections between cultural operators and the business world. • In 2009, Sibelius Academy collaborated with Itella and Helsingin Sanomat. Other smaller programs and individual projects were carried out with Eläke-Fennia and Fortum.
– Itella and Sibelius Academy have built their cooperation on shared values. Both are solid Finnish operators involved in plenty of international activity, and our brands are mutually supportive, says Sami Ylisaari, Sibelius Academy’s Corporate Relations Manager. Added Value for Both Partners
Itella’s marketing planner Paula Lappalainen has been involved in the collaboration almost from the start. – An important goal of our collaboration is for both partners to benefit. For us, the collaboration provides a sales tool in our customer relations, while at the same time, we want to be involved in supporting education for young musicians and musical culture, Lappalainen explains. According to Lappalainen, Sibelius Academy is a flexible and reliable partner that always delivers quality. – We have produced customised events based on Itella’s goals; these events give our students an opportunity to perform in unconventional environments, says Ylisaari. Salmon Music, Anyone?
One of the main forms of collaboration between Itella and Sibelius Academy is the JazzSpaghetti concept. Based on the Show & Dinner idea, invited guests are treated to music and food in turn.
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– The music programme and the food complement each other. For example, in a restaurant which offered modern Asian cuisine, the Asian influence was reflected in the music and the costumes, says Ylisaari. According to Paula Lappalainen, the events have a relaxed, informal atmosphere, and the guests have found them totally unique. All of the feedback has been positive. – Bringing music and food together generates discussion. Some of the restaurant staff get very excited about the concept. When we were in Oulu, the restaurant manager was very keen on the idea of combining music and food. The main course was salmon, and the manager asked whether the music could emulate the movements of the fish, Lappalainen laughs. Familiarity Is Not an Obstacle to Exploring New Possibilities
Sibelius Academy and Itella intend to deepen their collaboration and develop new concepts in the future. – For successful collaboration, it is essential that we have a reliable contact person who knows us, our business, our needs and goals. The events are always successful because they really listen to our requests, which means that they can offer what we need. Since both parties have a profound understanding of the other organisation, we can maximise our individual strengths and find new opportunities for cooperation, concludes Lappalainen. g
Interaction with Performers Creates
an Impact
In November 2009, schools across the country from Helsinki to Rovaniemi sat down to watch SibaTV for an interactive opera concert for young people.
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Arto Joutsimäki and Matti Jordman
One of the participating institutions was Kerava School, where teacher Arto Joutsimäki has fond memories of the event. The idea began taking shape when project manager Matti Jordman from Sibelius Academy sent a message to a mailing list asking if anyone was interested in taking part in a concert entitled Opera Here and Now! (Oopperaa Tässä ja Nyt!), which offered the audience a chance to construct the performance together with the musicians by chatting about the topics and styles of scenes. – Our pupils had never heard of anything like it. At Kerava, we showed the concert to our music classes, but many students had never been to the opera. The kids listened intently, and during the intervals, they discussed scene suggestions to send to the performers – instead of chatting about what to do after class, Joutsimäki smiles. For Arto Joutsimäki, interactive concerts provide interesting opportunities, especially to schools in provinces which don’t ne cessarily have access to different forms of live music. For pupils, live music increases the value of music as a whole. Joutsimäki thinks about how this concert form could be developed further. “We should try other styles of music in addition to opera, and explore what other opportunities this kind of interaction has to offer, since it made such a big impact on the kids.” g
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• Launched in 2006, SibaTV is the webcasting channel of Sibelius Academy and an important part of both the national and international visibility of the university’s artistic activity. • SibaTV broadcasts concerts and other events from Sibelius Academy halls live via the internet. • Performances can be watched again for a certain period on the SibaTV website. • In 2009, a total of 19 multi-camera productions were offered. • There were two concert webcasts to schools: Kanteleen kyydissä and Oopperaa Tässä ja Nyt! (“The Kantele Journey” and “Opera Here and Now!”). The concerts provided an experiment in interaction between the audience and the performers. The audience had the chance to influence the performance by voting for their preferred option online or by submitting suggestions on content and style via webchat. • SibaTv can be found at www.siba.fi/sibatv
Key figures: Staff, Finance and Concerts
N umber
of staff
( personnel
years )
P ublic
400
350
N umber
concerts
2006
2007
2008
2009
341
280
249
469
475
of concerts
A udience
300
2005 numbers
40 748 29 198 29 684 34 000 36 962
250 200
C ommissioned
150
100
N umber
50 0
concerts
A udience
2005
2006
Other Personnel
C ost
structure
2007
2008
( thousand
euro )
30000
25000
25000
20000
20000
15000
15000
10000
10000
5000
5000 2006
Rents and Leases
numbers
2008
2009
305
333
182
52 900 72 483 50 550 78 840 45 717
F unding ( thousand
30000
2005
2007
292
Teaching and Research
35000
2006
317
2009
35000
0
2005 of concerts
2007 Other Costs
2008
2009
Staff Costs
0
2005
euro )
2006
Other Funding
2007
2008
2009
Budget
ANNUAL REVIEW 2009
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N umber
of students
2005
2006 2007
2008 2009
Basic education
1429
1412
1402
1168 1115
148
132
136
155
153
80
82
81
84
80
Doctoral education Youth education
N umber
of international students
Basic education Doctoral education
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2005
2006 2007
2008 2009
156
135
148
119
122
14
16
17
19
19
Key figures: Students and Degrees
A pplications
and new students in basic education
A pplications
and new students in youth education
120
1200 1000
100
800
80
600 60 400 40
200 0
2005
2006
Applications
C ompleted
2007
2008
2009
20
2005
2006
Applications
New Students
N ew
degrees
2007
2008
2009
New Students
and registered doctoral students
200
350 300
150
250 200
100 150 100
50
50 0
2005 Bachelor’s
S tudent
2006
2007
2008
Master’s
0
2009
Doctoral
2005
2006
Registered
D egrees
and teacher exchange
80
30
70
25
60
2007
2008
2009
New
completed by international students
20
50 15 40 10
30
5
20 10
2 007 Academy Students, Overseas
2008 Exchange Students, Received
0
2009 Academy Teachers, Overseas
Exchange Teachers, Received
2005 Master’s
2006
2007
2008
2009
Doctoral
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Contact Details P.O. BOX 86, FI-00251 Helsinki +358 20 753 90 info@siba.fi www.siba.fi R Building Pohjoinen Rautatiekatu 9, 00100 Helsinki T Building Töölönkatu 28, 00260 Helsinki P Building (Pitäjänmäki) Kutomotie 9, 00380 Helsinki
Kuopio Department Kuopionlahdenkatu 23 C, 70100 Kuopio Seinäjoki Unit Keskuskatu 32 A, 60100 Seinäjoki Kallio-Kuninkala Course Centre Ristinummentie 6, 04400 Järvenpää www.kuninkala.fi Primo, Sibelius Academy Events Service www.ohjelmaprimo.fi Anne Toppila, Producer +358 50 526 1970, anne.toppila@siba.fi
Corporate Relations Sami Ylisaari Corporate Relations Manager +358 40 710 4249, sami.ylisaari@siba.fi Vivat Academia ry Friends of Sibelius Academy www.siba.fi/vivatacademia vivat.academia@siba.fi