Anne Kauppala

Job description

Present occupations:

– Professor of music performance research, Sibelius Academy (Uniarts), DocMus Doctoral School, 2005–

– Leader of Uniarts History Forum, 2017–

– Editor of DocMus Research Publications, 2012–2021 

Previous affiliations:

– Professor of musicology, University of Turku, Department of Musicology, 2000–2005

– Assistant, University of Helsinki, Department of Musicology, 1997–2000

– Senior assistant, University of Turku, Department of Musicology, 1996–1997

– Archivist for the Record Library of the Finnish Broadcasting Company (YLE), 1990–1991

– Librarian, University of Helsinki, Department of Musicology, 1986–1989

Introduction

Education and degrees:

– Master of Philosophy (musicology), University of Helsinki, 1989

– Licentiate of Philosophy (musicology), University of Helsinki, 1993

– Doctor of Philosophy (musicology), University of Helsinki, 1997

Research and publications

Select publications:

– “Aino Ackté’s Salome: A Genetic Analysis of Her Creative Process (1906–1907)” in Juha Ojala & Lauri Suurpää (eds.), Musical Performance in Context A Festschrift in Celebration of Doctoral Education at the Sibelius Academy, DocMus Research Publications 17, Helsinki: Sibelius Academy 2021. 41–76. 

– “Barthes’s The Grain of the Voice Revisited,” in Esti Sheinberg and William Dougherty (eds.), The Routledge Handbook of Music Signification. London; New York: Routledge 2020. 67–77.

– “Staging anti-Semitic stereotypes. Wäinö Sola’s Eléazar at the Finnish Opera, 1925,” in Jens Hesselager (ed), Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe. Abingdon: Taylor Francis Group, Routledge 2018. 132–153.

– “Cathy Berberian’s Notes on Camp”, in Pamela Karantonis, Francesca Placanica, Anna Sivuoja-Kauppala and Pieter Verstraete (eds.) Cathy Berberian: Pioneer of Contemporary Vocality. Farnham: Ashgate 2014. Pp. 121–150.

– “Salome’s slow dance with Lord Chamberlain, London 1909–1910”, in Clair Rowden (ed). Performing Salome, Revealing Stories. Farnham: Ashgate, 2013. Pp. 99–132.

–”Dramatic Signification of the Grail Knights’ Choruses of Parsifal by Richard Wagner.” In Sheinberg, Esti, (ed.). Music Semiotics: A Network of Significations – in Honor and Memory of Raymond Monelle. Farnham: Ashgate, 2012. 185–195. 2012

– “Voicing Le Neutre in the Invisible Choir in Richard Wagner’s Parsifal.” Sign Systems Studies 36.1 (2008): 83–111. 

– “Parsifal as the Undoing of Kundry.” In: A Sounding of Signs: Modalities and Moments in Music, Culture, and Philosophy. Essays in Honor of Eero Tarasti on his 60th Anniversary. Robert Hatten, Pirjo Kukkonen, Rick Littlefield, Harri Veivo, and  Irma Vierimaa (eds.). Acta Semiotica Fennica XXX. Imatra: International Semiotics Institute & Semiotic Society of Finland, 2008. 104–138.

– ”Barthes, ääni-kieli ja musiikki” [Barthes, voice-language and music]. Vastarinta / Resistanssi: konfliktit, vastustus ja sota semiotiikan tutkimuskohteina, ed. Harri Veivo. Helsinki: The Helsinki University Press, 2007. 54–73.

– “Miniatures and tensions: phenomenological reverberations in and around Kaija Saariaho’s Lichtbogen (1985-1986)”. Intersections. Canadian Journal of Music/Revue Canadienne de Musique No. 25/1–2 ( 2005): 44–66. [publ. 2006] 

–  “Rihmasto, chaosmosis ja Saariahon Stilleben (1988)” [Rhizom, chaosmosis and Saariaho’s Stilleben]. In Anne Sivuoja-Gunaratnam (ed.), Elektronisia unelmia. Kirjoituksia Kaija Saariahon musiikista [Electronic dreams. Essays on Kaija Saariaho’s music]. Helsinki: The Helsinki University Press, 2005. 203–226. 

– “Hiljaisia hetkiä Kaija Saariahon musiikissa” [Silent moments in Kaija Saariaho’s music]. In Padilla, Alfonso & Juha Torvinen (eds.), Musiikin filosofia ja estetiikka. Kirjoituksia taiteen ja populaarin merkityksistä.  Helsinki: The Helsinki University Press, 2005. 397–429. 

– ”Paikkaa etsimässä: länsimaisen taidemusiikin koordinaatteja kulttuurisessa musiikintutkimuksessa” [Searching positions: coordinating western art music within cultural study of music]. Musiikki 2 (2004): 61–80. 

– ”Distance and Desire in Kaija Saariaho’s Lonh.” Organised Sound, vol. 8/1, 2003. 71–84. [Editing of the sound examples are also by the author of the article]

– ”Male Fantasies in Einar Englund’s Symphony No. 1: The Symphony as a Technology of Male Gender Articulation.” Women and Music, vol. 7, 2003. 12–30.

– ”Aino Acktén rooli Juhan libretistinä” [Aino Ackté’s role as the librettist for Juha]. Veisuin ylistäkää. Juhlakirja Hilkka Seppälän täyttäessä 60 vuotta, ed. J. Hakkarainen, P. Metso ja V. Kiiveri. Joensuu: Joensuun yliopisto, Ortodoksisen teologian julkaisuja No. 32, 2003. 175–194.  

– ”Erkki Salmenhaaran kenttätekninen kaksoisrooli” [Erkki Salmenhaara’s double role in the (Finnish) Felden-technik]. Muualla, tällä. Kirjoituksia elämästä, kulttuurista, musiikista, ed. Helena Tyrväinen, Seija Lappalainen, Tomi Mäkelä ja Irma Vierimaa. Jyväskylä: Atena, 2001. 55–70. 

– ”Rhetoric of Transition in Kaija Saariaho’s Music.” In:  Musical Signification: Between Rhetoric and Pragmatics. Proceedings of the 5th International Congress on Musical Signification. Gino Stefani, Eero Tarasti & Luca Marconi (eds.). Bologna: CLUEB, 1998. 537–542. 

– “In search of a musical subject in serial music: analytical examples from the oeuvre of the Finnish composer, Einojuhani Rautavaara”. Contemporary Music Review 16/4 (1997): 65–77. 

– Narrating with Twelve Tones. Einojuhani Rautavaara’s First Serial Period (ca. 1957–1965). Helsinki: The Finnish Academy of Science and Letters. Humaniora vol. 287, 1997. 272 p.  

– “Korvan tarina: kenen? teos?” [The Story of the Ear: whose? work?]. Synteesi 3 (1995): 40–49.  

– “Feminiinejä ooppera- ja soitinmusiikissa” [Feminins in opera and instrumental music]. Musiikki 3 (1994): 278–291.

– “The libretto of Parsifal read through the Greimasian mythical actant model”. On the Borderlines of Semiosis. Acta semiotica Fennica II, p. 335–348, ed. Eero Tarasti. International Semiotics Institue at Imatra, Imatra 1993. 

– “Nature vs. Culture in Einojuhani Rautavaara’s opera Thomas“. Indiana Theory Review vol. 13 nr. 2, Fall (1992): 89–106. 

– “Compositions narratives dans Thomas, opéra de Rautavaara”. Degrés 68 (1991): c 1–17.  

– “Unohdetut näkökulmat? – Erik Bergmanin Tre aspetti d’una serie dodecafonica op. 46″ [Forgotten aspects? – Erik Bergman’s Tre aspetti d’una serie dodecafonica op. 46]. Musiikkitiede 2 (1991): 73–96.

– “Greimasin myyttinen aktanttimalli – näkökulma Wagnerin Parsifalin tarinaan” [The libretto of Parsifal read through the Greimasian mythical actant model] . Synteesi 1–2 (1991): 78–91.

–  “Merkin käsite oopperantutkimuksessa – esimerkkejä Rautavaaran Thomaksesta” [The concept of sign in opera research – examples from Rautavaara’s Thomas]. Musiikkitiede 2 (1989): 164–183.

Academic editorial work: 

– Wagner and the North, Anne Kauppala and Martin Knust (eds.),  DocMus Research Publications, vol 17. Helsinki: Sibelius Academy (University of the Arts), 2021. 534p. 

– Cathy Berberian: Pioneer of Contemporary Vocality. Farnham: Ashgate 2014. 249p. Eds. Pamela Karantonis, Francesca Placanica, Anne Sivuoja-Kauppala, and Pieter Verstraete.

– Opera on the Move in the Nordic Countries during the Long 19th Century. Docmus Research Publications 4. Helsinki: Sibelius Academy, 2012. 298p. Eds. Anne Sivuoja with  Owe Ander, Ulla-Britta Broman-Kananen and Jens Hesselager.

– Elektronisia unelmia. Kirjoituksia Kaija Saariahon musiikista. [Electronic dreams. Essays on Kaija Saariaho’s music.] Helsinki: The Helsinki University Press, 2005. 346 p. Ed. Anne Sivuoja-Gunaratnam. [Musical examples on the CD also by the editor.]

– Siltoja ja synteesejä. Esseitä semiotiikasta, kulttuurista ja taiteesta. [Bridging and synthetiszing. Essays on semiotics, culture, and arts.] Gaudeamus, Helsinki 1998, 403p. Eds. Kari Kilpeläinen, Anne Sivuoja-Gunaratnam, and Irma Vierimaa. 

Periodicals edited: 

– Intersections. Canadian Journal of Music/Revue Canadienne de Musique No. 25/1-2/1, 2005, with Friedemann Sallis, pp. 40-228.  – Musiikki (several issues 1996–2013; editor/co-editor 1997–2000. 

– Synteesi 4/1996: Merkityksenanto ja sukupuoli [Gender and Signification: a special issue on feminist semiotics]

Other editorial responsibilities: 

–  Member of the editorial board and the editor-in-chief for DocMus Research Publications 2013–

– International Advisory Board of the Journal of the Royal Musical Association, 2010–2012

 – Member of the editorial board for Trio (published by the DocMus Doctoral School), 2011–

– Referee statements e.g. for Musiikki, Trio, Journal of the Royal Music Association, Etnomusikologian vuosikirja, Intersections, Norwegian Musicological Journal, Studia Musicologica Norvegica, Synteesi, and Culture, Theory and Critique.

Current

Research projects: 

– Jean Sibelius och familjen Achtés korrespondens. In collaboration with  Ulla-Britta Broman-Kananen och Timo Virtanen. Svenska Kulturfonden, 2018–2020.

– Shared Histories of Italian Opera in the Nordic Countries : Migration, Cultural Transfer and Urban Spaces (18th-19th Centuries), NOS-HS Workshop 2016–2017. PI Christine Jeanneret (University of Copenhagen). Responsibility: partner

– Opera on the Move: Transnational Practises and Touring Artists in the Long 19th Century, 2013–2016. A NorpCorp project for 4M NOK [c. 540.000€), funded by Joint Committee for Nordic Research Councils for the Humanities and the Social Sciences (NOS-HS), in collaboration with Ulla-Britta Broman-Kananen (Sibelius Academy), Owe Ander (Stockholm Univeristy) and Jens Hesselager (University of Copenhagen). Responsibility: PI  

– Cantatricerna Achté (with Ulla-Britta Broman-Kananen); a research project on Emmy Achté, Aino Ackté and Irma Tervani centering on their extensive correspondence. Responsibility: Collaborator. 2006-

– The Finnish Opera Company (1873–1879) from a Microhistorical Perspective: Performance Practices, Multiple Narrations, and Polyphony of Voices. Funded by Finnish Academy 1.1.2010–31.12.2013. With Ulla-Britta Broman-Kananen, Pentti Paavolainen and Ilona Pitkänen. Responsibility: PI

Expertise

• Opera research
• Music performance research
• Musical semiotics
• Music and gender
• 20th-century music
• Cultural history of music