contributors

Articles by Oksana Shmulyar Gréen & Andrea Spehar

1. CBEES Annual Conference: “Shaping Futures: The Baltics and Eastern Europe in the World” November 28-29, 2024

   The 10th CBEES Annual Conference offers a time of retrospection and a time of new imaginings – a time to […]

2. Catching the Specter: Stepan Bandera between Myth, Meme, Death, and Memory in War-Turn Ukraine

   In this essay, the author is engaging with the transforming presence of Stepan Bandera (1909-1959) in the Ukrainian social media space between 2014 and 2024. Building along and against the mainstream discussions on collective memory, The author argues that with the presence of war, the Ukrainian social media users memefied Bandera, making him a useful tool for politically-driven activities and an emptied signifier to be used in ironic contexts. The author also shows that in war-torn Ukraine, the meme and the myth of Bandera are intertwined with the commemorations of those who died on the frontline, which requires a nuanced understanding of the country’s changing memory landscape.

3. Ruins, Museums, Reconstruction and the End (?) of Future

   This essay is an attempt to describe my thoughts from the CBEES summer school in Sigtuna. The author attempts to articulate the complexities of working with memory and heritage through his topic related to the heritage of the Soviet Gulag, as well as the more general problems of the industry of preserving and reinterpreting the past.

4. Who gets to speak about the past?

   This essay reflects on the issues of the past, memory practices, decolonisation, and reconciliation, as discussed during the 2024 CBEES Summer School. The author applies these reflections to think of her own research on LGBTQ+ Ukrainians’ wartime embodied relationalities, and how the discussed issues might manifest for her studied group. She further reflects on importance of positionality in discussions on postwar memory.

5. How Are We Going to Remember? Envisioning Postwar Memory and Commemoration in Ukraine

   This essay explores the intersection of personal reflection and Ukraine’s collective journey towards reconciliation amid the ongoing war with Russia. Set against the peaceful backdrop of a CBEES Summer School, the author delves into the challenges of memory construction, highlighting Ukraine’s historical complexities and the importance of inclusive memorialization in shaping a unified postwar identity. The essay draws comparisons with Eastern Europe’s post-communist memory work, emphasizing reconciliation and social cohesion.

6. Margareta Tillberg in memorial

   Margareta Tillberg has died, at the age of 63 years. Margareta Tillberg had a great commitment to what she did, and she still would have had a lot to give of her knowledge.

7. Finnish, French, or Cosmopolitan? Kaija Saariaho broke many glass ceilings during her long career as a composing woman

   August 24, 2023, Helsinki Music Centre, Finland. In the concert hall, the last sounds of the orchestra gradually fade away, and only the fragile, almost unheard echoes of music linger through several minutes of silence. Then — long standing ovations. At the same time, how-ever, many of the audience members in the full house of 1 600 seats are openly crying. The audience had just heard HUSH (2023), a concerto for trumpet and orchestra, the last work of the Finnish composer Kaija Saariaho. She had passed away at the age of 70 only a couple of weeks before this performance The essay is based on several interviews with the composer, and on reviews of her works that I have made while working as a music journalist and critic between 1997 and 2003. After my transition to an academic career in musicology, I continued working with Saariaho’s music but in the scientific context. In 2008, I wrote my doctoral thesis on her first opera, L’amour de loin (Love from Afar, 2000). Since then, I have continued to explore Saariaho’s music, and above anything else focused on her operas; for instance, I have written the program book texts of her works for the Finnish National Opera. That is why this essay, after introducing Saariaho’s early years and development towards a full career as an opera composer, concentrates on her operatic works.

8. Nation, gender, and music history

   History is not fixed and unchanging, and the way we think about the concept of nation can affect the way we talk about the past. This also applies to the history of music. Let me give you an example. In volume 2 of his seminal book on music history, The Oxford History of Western Music, the late Richard Taruskin talks about the circle of fifths, a diagram that helps you visually organize Western music theory’s 12 chromatic pitches for learning purposes. He mentions that the circle of fifths first appeared in a Russian music theory book published in Moscow in 1679, decades before Western music theorists began to talk about it. However, the book itself was not originally Russian, but was translated from Polish. Moreover, the author was a Ukrainian clergyman and singing teacher who was born in Kyiv, at that time part of the Polish–Lithuanian Commonwealth with Krakow as its capital. When Taruskin published his book in 2004, the background for the first appearance of the circle of fifths was just an interesting anecdote referring to the ethnic and linguistic diversity of Eastern Europe in the 17th century. But how can — or should — one speak of it after February 24, 2022, Russia’s full-scale invasion of Ukraine? How do you even pronounce the name of the Ukrainian cleric? Nikolai Diletsky, following the Russian form as published in the first edition, or Mykola Diletsky, in the Ukrainian form, as he was born in Kyiv and is considered part of Ukrainian music history?

9. Olli-Pekka Martikainen: Music education for new needs

   Olli-Pekka Martikainen is the Secretery General of the Association of Finnish Music Schools, an umbrella organization that includes 97 schools. He has a doctorate in music and he previously worked as the vice dean of the Sibelius Academy, University of the Arts Helsinki. Apart from leadership in higher music education Martikainen has worked as an orchestral and chamber musician and as a teacher at the Sibelius Academy. Martikainen holds the first artistic Doctoral degree in the field of percussion music in Finland. Ann Werner asked him questions about higher music education in the Baltic region with her own research on nation and gender in higher music education as background.

10. Georgia at the Crossroads Perspectives on the Europeanization of higher music education

    Music and Performing Arts is one of the fields Georgia can pride itself on internationally. While the country is in transition as it officially embarks on its long path to European Union membership, this study explores the process of Europeanization of higher music education in Georgia. Authors analyze how higher music educational institutions employ European projects for organizational change at a grassroots level and to what extent and in what way supranational and national policy instruments influence the outcome at the local – institutional level. This study categorizes Georgia’s higher music education sector into three major stages since the country regained independence in 1991 and uses structural, institutional, and organizational approaches for analysis of collected data. The findings suggest that significant challenges remain despite emerging European support in the cultural area and active cooperation between major stakeholders in the sector and their European counterparts.

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