Within these paragraphs we have to dedicatedly show we as a group of experts are the best people to do this project. Because of what we do everyday - and what we are especially interested and skilled in.

Both paragraphs should be VERY DETAILED AND IN TEXT-FORM, not only a listing. You could include what principles you are follwoing, how your organisation is structured, who is working there, what are the main interests, why and how you cooperate with schools and the university (i.e. mention that many of your (board-)members also work at the University and that there is a close exchange of expertise), what your role is within the Pärnu-Community, how you are networked, a look behind the scenes (how you operate your projects), the history of the institution and its partners etc.

We do also need the same kind of text and self-assessment of the school.

It would also be interesting to state: How many students, how many teachers are at the school? Do they do special projects, after-class courses? Why are they interested especially in experimental music making if their key focus is on Mathematics and Physics?


Eesti Arnold Schönbergi ÜhingEdit

D.2.2. Background and Experience

Please briefly present the partner organisation (e.g. its type, size, scope of work, areas of specific expertise, specific social context and, if relevant, the quality system used).

In Estonia, the project is carried out under the leadership of the Estonian Arnold Schoenberg Society (EASchÜ, project manager Andrus Kallastu). Carrying out the project, the EASchÜ is working with partner institutions including Musicology Department of Estonian Academy of Music and Theatre (EAMT, contact person Kerri Kotta), Baltic Film, Media, Arts and Communication School of Tallinn University (TLÜ, contact person Gerhard Lock), New Media Division of Estonian Academy of Arts (EKA, contact person Hans-Gunter Lock) and the Department of composition and music theory of Georg Ots Tallinn Music School (Otsakool, contact person Tanja Kozlova-Johannes).

Estonian Arnold Schoenberg Society (EASchÜ) has been established on 22 August 1992 by the eleven young musicians, most of whom were studying or had studied in in the Tallinn Conservatoire (now Estonian Academy of Music and Theatre). Society arose as a reaction to the situation that prevailed in the relatively conservative and uniform musical life in Estonia in the late 1980s, and as a yearning for a new spirituality. As a symbol of the 20th century's musical avant-garde Arnold Schoenberg had been seen as its spiritual father. For the society it was important to "domesticate" new musical ideas in the cultural space of Estonia: the statutes of the association aims to "investigate and disseminate the musical heritage of Arnold Schoenberg and his pupils, as well as other innovative musical traditions related to musical modernism." Today, the association has 21 members being active as musicians, composers, conductors, musicologists, producers, music journalists and music teachers.

Already in January 1988, the musicians who later founded the society had begun to organize Pärnu Days of Contemporary Music (PNP) in order to study and perform new music not taught and discussed in music schools. During the first PNP's 1988-1994 and in 1998 the main emphasis was on selected composers of the 20th century whose music was played at concerts and analyzed in the symposiums. In 1988 the composer of PNP was Igor Stravinsky, in 1989 Paul Hindemith, in 1990 Benjamin Britten, in 1991 Arnold Schoenberg, in 1992 Alban Berg, in 1993 Anton Webern, and in 1994 Olivier Messiaen. In 1998, the music of a number of composers were introduced under the label “Silence” reflecting the compositional ideas of Anton Webern, John Cage, Morton Feldman and Carl Armfelt. Since 1995 the organization of contemporary music days continued in Tartu under name of Tartu new music festivals (TUMP). In collaboration of representatives of other artistic areas, scientists and philosophers, the musical avant-garde of the second half of the 20th century's was in the center of interests: 1995 - Pierre Boulez, 1996 - Luciano Berio, 1997 - György Ligeti and 1998 - Harrison Birtwistle. In 1998 and 1999, the main idea of Tartu new music festivals was to create a communication between music and other human activities under the topic of ancient Greek concept of techne. Besides Estonian researches (including Mart Humal, Mart Jaanson, Toomas Siitan and Jaan Ross), the festival was visited by internationally renowned scholars such as Ludwig Holtmeier, Nicholas Cook, Francois-Bernard Mâche, Ann-Sylvie Barthel-Calvet in 2005, Gérard Pape & CCMIX Paris and Klaus Ager in 2006, and Tiina Koivisto and François Sarhan in 2007. The focus of PNP's in recent years has been broader: PNPs in 2007-2010 concentrated on music and performance, in 2011-2013 on futurism (in collaboration with the Graduate School of Culture Studies and Arts GSCSA of Estonian Universities), and since 2014 on performativity (in collaboration with EAMT International Conference on Music Theory). The society has also organized different multimedia workshops and, in cooperation with the Estonian Academy of Arts, has also developed a project in which people are building experimental musical instruments and compose music using these instruments.

Publishing activities of Estonian Arnold Schoenberg Society are held in cooperation with the publishing house Scripta Musicalia and Academia Gustaviana Society. Materials related to the activities of Estonian Arnold Schoenberg Society has published the cultural Magazine Teater.Muusika.Kino. Estonian Arnold Schoenberg Society monitors the development of the Estonian contemporary music terminology and concepts definitions in free encyclopaedia Wikipedia. As a result of the activities of the society, the main music libraries in Tallinn, Tartu and Pärnu have revised their collections regarding books, scores, and other materials on musical modernism. Estonian Arnold Schoenberg Society have a cooperation agreement with the National Library of Estonian to store its collection.

In the curriculum of Musicology Department of Estonian Academy of Music and Theatre (EAMT) all the most important music research fields are represented including music history, music theory, ethnomusicology and cognitive musicology. Beside classical music a number of folk, popular and film music courses are offered. In addition to writing a research thesis, the curriculum also includes practicing at different cultural institutions (broadcasting, museums, etc) as well as editorial practice. Among the lecturers there are internationally outstanding scientists who are involved in both Estonian and international research projects. Each semester includes at least one intensive seminar under the guidance of a visiting scholar in which the most actual research topics are discussed. The graduates of musicology department of EAMT work as editors, teachers or professors and scholars of the editorial boards, educational and research institutions, archives, museums, concert organizations, broadcasting and elsewhere.

Baltic Film, Media, Arts and Communication School of Tallinn University (BFM) is a competence centre for communication and audio-visual knowledge and expertise. Study areas at BFM are Media and Communication, Arts and Didactics of Arts. At our School you can study at the Bachelor's and Master's level, in Estonian and English. At BFM you can obtain a wide-based education in an international environment. Our study programmes offer tools and skills for working on various positions in film production, TV, new media, communication, choreography, art and music. Knowledge gathered at the Bachelor's level can be refined with our Master's programmes. About 1100 students studies at BFM each semester. Around 120 students are from 40 different countries worldwide. BFM has over 70 partner universities in Europe and Asia.We offer a truly exciting mix of cultures that creates an invaluable professional network for your later career. At BFM we believe in learning by doing. Our focus is on professional hands-on training designed for international careers in the world’s rapidly growing audiovisual and media industry. We await all active and creative students, who wish to apply themselves in the exiting world of audio visual arts, communication and media. Our study programmes have been compiled in a way that in a few years, you will obtain both the theoretical basic knowledge as well as varied practical skills. All study programmes value internships and collaborative projects, which will give you an insight to the industry and the possibility to gather social capital both in Estonia and abroad, while still at the university. BFM is equipped with modern video and sound equipment, we have our own TV studio, sound studios, an editing centre and a film studio. We provide students with free shooting and post-production equipment, studio space and production support for their creative works, supervised by established professionals from the audio-visual industry. BFM building houses Estonia’s first 4K cinema hall in addition, BFM is home to Estonian Digital Centre, which offers post-production services.

Within the Didactics of Arts area one can study music and arts at BA level, since Autumn 2016 in the new and unique Integrative Arts, Music and Multimedia curriculum. At the MA level we offer a Music Teacher curriculum, since Autumn 2016 in collaboration with the Estonian Academy of Music and Theatre, and an Arts Teacher curriculum, since Autumn 2016 in collaboration with the Estonian Academy of Arts. In the Arts area one can study dance and choreography at BA and MA level. The former Institute of Fine Arts Department of Music in collaboration with its Riho Päts Center (dedicated to one of the most important figures of Estonian music education Prof. Riho Päts) has established the international scientific conference series CFMAE/YTT The Changing Face of Music and Art Education/Yesterday, Today, Tomorrow together with the TTS Teacher Training Seminar, in 2015 we hosted the EuNetMERYC Music Educators and Researchers of Young Children biannual congress. We have established a peer-review research journal with international editorial board CFMAE: The Changing Face of Music and Art Education (editor-in-chief Prof. Tiina Selke (PhD), managing editor Gerhard Lock (PhD candidate), coordinating editor Marit Mõistlik-Tamm (PhD), which is listed in EBSCO Academic Research and RILM full text database and reaches researchers and readers around the world. We offer seminars, courses and open lectures with international guest lecturers (Music Psychology Course, Music Improvisation Course, Journal Symposium, Research Methodology Course), e.g. in 2015 our Fulbright guest scholar was the composer, music theorist and internationally awarded Online-Learning specialist Assoc. Prof. Paul Beaudoin (USA). We also organize regular concerts with music interpreted and composed by our students (e.g. Spring and Autumn concerts, the audio-visual Young Composers Lab concert series, since 2015 in collaboration with Kumu Arts Museum and the Estonian Academy of Music and Theatre Composition Department/Electronic Music Studio, e.g. with Hans-Gunter Lock) and contests (the annual Choir Conducting Contest for our students, 2010 and 2011 the contest In Focus of Young Critics, since 2014 the Digital Composition Contest for School Children since 2016 announced also internationally).

Special topics of the CFMAE/YTT conference series and the research Journal CFMAE: The Changing Face of Music and Art Education have been the following: Music and Environment (2009), Evaluation, Reflectivity and Teaching Methodologies in The Framework of Multi-Cultural Understanding (2010), Creativity, Musicality, Well-Being (2012), Inspiration and Improvisation (2013), Communication and Processes (2014), Playful Sounds – Personhood. Among further special topics in the CFMAE Journal including international guest editors will be Singing & Voice (2017), Interdisciplinarity in arts education (building experiences in the (digital) arts, film and media) (2018), Improvisation and Insight (special needs, wellbeing, therapy) (2019), Creativity and Imagination in Pedagogy of the Arts, Media and in Other Domains.

New Media's of Estonian Art Academy (EKA) speciality is new technology and new tools, which are often thought to be diametrically opposed to skilfulness and creativity, it is important to remember that art has always been based on technology. New tools often lead to ne ways for artists to reflect the world and themselves. New tools created the need for new skills, which are based upon earlier ones. The main point of departure is a universal creative and playful attitude regardless of the technical carriers. This area of study is based on three spheres, which are contemporary art, science and technological research, as well as social and cultural activism.

The New Media speciality is defined as various cultural practices in a digital media environment. Mastering this speciality requires exploring the history and present day of the relevant practices and the associated theories. Since the studies are conducted within the context of the Academy of Arts, then new media is defined in the context of visual arts – or, more precisely, as new media art. This does not preclude the involvement of dance, music and film, or such fields of activity as biology, computer science, psychology, etc. Essentially, we are dealing with art that is created using emerging media technologies, such as digital art, computer graphics, virtual art, Internet art, interactive art, video games, robotics, and biotechnology. New media art assumes that the viewers and users cooperate and communicate with each other. The work of art “occurs” when the viewer and work of art meet – as the result of their interaction.

The instruction combines lectures, practical workshops, seminars, presentations, excursions and study trips, in order to provide an integrated interdisciplinary experience in the field of study, which is comprised of a universal component that transcends time, and also has a changeable part. The viewpoint related to new technologies that transcends time deals with an understanding of how the same goals have been aspired to at different times and under different technical conditions. For example: messages have been sent using smoke signals, by writing on paper, and with electronic and digital signals, but the reason for sending the message has always been the same. A flexible and transitory attitude toward new media assumes an understanding of the extent to which tools are in the services of content creation.

Music Theory Department of Georg Ots Tallinn Music Shool (Otsakool) grabs the learning process throughout the school: all students must acquire the knowledge and skills during their studies in elementary studies, solfeggio, harmony and music history. Teachers of the department have an important role in the developing of young musicians and broadening their musical horizons. Work in the department happens at two levels: in the basic level will be provided the basic knowledge of musical for all disciplines, music theory and composition students acquire the theoretical courses and music history in depth. In addition there are several professional learning cycles as a musical form, research practice, bases of music criticism and bases of different methodologies. Aim of department is also to provide preparation for admission to the music academy in specialities of musicology, composition or music pedagogy.

What are the activities and experience of the partner organisation in the areas relevant for this project? What are the skills and/or expertise of key persons involved in this project?

Objectives of EASchÜ-leaded project cluster are

  1. to make a teaching of musical composition a part of general music teaching (including developing a music composition teaching tool (textbook + exercise books) and curricula for general education). The aim of the society is to make this aspect also the part of the State Curriculum of Art Disciplines of Estonia;
  2. introduce internationally the experimental musical instruments project developed in collaboration with EKA and EASchÜ as a tool of learning a musical composition for adult non-musicians.

The activities of partner organisations include:

  • Estonian Arnold Schoenberg Society (Andrus Kallastu) is responsible for the administrative and technical management of the project, organizing the workshops and concerts and compilation of musical composition teaching tool (textbook + exercise books) and curriculum;
  • Musicology Department of Estonian Academy of Music and Theatre (Kerri Kotta) is responsible for evaluation of music composition teaching tool (textbook + exercise books and curriculum);
  • Baltic Film, Media, Arts and Communication School of Tallinn University (Gerhard Lock) is responsible for the research activities of the project;
  • New Media Department of Estonian Art Academy (Hans-Gunter Lock) is responsible for the construction of experimental musical instruments and offer assistance regarding audiovisual technology tools;
  • Music Theory Department of Georg Ots Tallinn Music Shool (Tanja Kozlova-Johannes) is responsible in pre-testing the composition teaching tool in teaching process.

All member of Estonian Arnold Schönberg Society are professional musicians: composers, performers, researchers and teachers of music. All members of project cluster are also members of the Estonian Arnold Schönberg Society

Andrus Kallastu (1967, Pärnu) since 2000 has been working as a freelance composer and conductor. He is known as an active concert organizer, the artistic director and producer of various projects, as well as the founder and leader of several festivals. During the years 1988–1994 and 1998–1999, Andrus Kallastu was the artistic director of Pärnu Contemporary Music Days and since 2003, he has been the main organizer of the festival. Since 1993, he has been the manager of Pärnu Opera and since 2007 leading the conceptual music theatre ensemble Repoo Ensemble. Andrus Kallastu is one of the founders of Estonian Arnold Schönberg Society, in the years 1992–1994, he was the chairman of the society, since 2003, the member of the board.

Andrus Kallastu started his musical studies on piano with Maimu Parts in Pärnu Music School. In 1985–1990 he studied choral conducting with Prof. Olev Oja and composition with Prof. Eino Tamberg at the Tallinn State Conservatoire. In 1991–1999, he continued studies at the Sibelius Academy in Helsinki with conducting (Prof. Jorma Panula, Ilya Musin and Eri Klas), composition (Prof. Paavo Heininen, Olli Kortekangas and Erkki Jokinen), singing (Matti Pelo) and music theory (Profs. Tapani Länsiö, Hannu Apajalahti, Marcus Castrén, Lauri Suurpää). In 1999, he acquired a Master's degree in conducting at the Sibelius Academy and in the beginning of the 2000s, he studied musicology at the University of Helsinki. In frame of his wide range of activities, Andrus Kallastu has also been, for example, a conductor of symphony orchestra of the Tallinn Georg Ots Music School (1990–1991), a freelance singer of the Finnish Radio Chamber Choir (1997–2004) and Aix-en-Provence opera festival (2004). At the end of the 1980s, he was a member of experimental music group Grotest. In 1990, he was the editor and publisher of the Tallinn Conservatoire publication Scripta Musicalia and up to now he has been working for the same publication as a collaborator and adviser. His texts and translations have been published in Scripta Musicalia and the Teater. Muusika. Kino magazine. He has also been actively contributing to web encyclopedia Wikipedia.

In music of Andrus Kallastu, two periods of style can be noticed. Most of his works, written at the time of conservatoire (1985–1990), bear influences of modality and express the spirit of neoclassicism that at the time was characteristic to a large part of Estonian music. In decisive year of 1990, besides several significant events in Estonian society, as well as in his personal life, also a remarkable change in style of Kallastu’s music started to emerge. In this decade he was intensively studying music by Arnold Schönberg and the Second Viennese School composers. Additionally, he acquired strong influences while studying in Helsinki, Finland. The first works of new spirit were composed in late 1990s. These works are characterized by serial texture, sound-field technique, groping the boundaries of musical sound and noise. Many of his works speak of intention to interconnect music and various types of arts and interest of performance art.

Kerri Kotta (1969, Tallinn) studied music theory at the Tallinn Music High School and graduated from the Tallinn Conservatoire in composition as a student of Jaan Rääts in 1993. In 1997, Kotta obtained a master's degree in composition with Lepo Sumera in Estonian Academy of Music and PhD in musicology (supervisor Mart Humal) in 2004. He has taken part in courses of composition and music analysis in Schwaz, Stuttgart and Cracow. Kotta taught music theory at the Tallinn University from 1994–2008. Since 1998 he teaches at the Estonian Academy of Music and Theatre, from 2005, as an associate professor and from 2015 as a full time professor. From 2005 Kerri Kotta is a member of the board and, from 2013, the chairman of the board of the Estonian Musicological Society. He is also a chairman of Estonian Arnold Schoenberg Society since 2012 and is also working as a managing director of the International Eduard Tubin Society since 2014.

One of the most engaging aspects regarding the compositions of Kerri Kotta is the fine-tuned and synthesis-oriented “stylistic plurality”. In Kotta’s music, jazz and minimalism meet grandiose Bach-like rhetoric and a high-strung and fragmented, modernist approach to sound. This, in most cases, does not entail dramatic contrasts of styles. Kotta joins together different approaches in a playful and delicately humorous manner. Kerri Kotta’s works have been performed by Estonian National Symphony Orchestra, NYYD Ensemble, double bass player Mati Lukk, organist Aare-Paul Lattik, pianist Mati Mikalai and others. His music has been presented at the international new music festival Nyyd, Estonian Music Days Festival and at festivals in Austria and Poland. In 1997, Kerri Kotta’s Col legno for violin and orchestra got the 4th prize in the competition for instrumental concerts organized by Estonian Cultural Endowment.

As a musicologist, Kerri Kotta main interests cover harmonic-contrapuntal structure as well as musical form. In Estonian music, he has studied the tonal structure of works of Erkki-Sven Tüür. Kotta has also published reviews and articles in Estonian culture magazine Teater. Muusika. Kino and music magazine Muusika as well as cultural weekly “Sirp”.

Gerhard Lock (1978, Halle/S.) is musicologist and composer, educator, critic, editor, organizer and musician, born in Germany and living in Estonia. He has studied in Georg Friedrich Händel Conservatory (1983–1993) and August Hermann Francke Gymnasium (former Music High School) in Halle (1993–1996) where his composition teacher was clarinettist and composer Willi Vogl. From 1996 to 2000, he studied violin performance in The Liszt School of Music in Weimar. In 2000, he started musicology studies in Leipzig University master’s course and continued them in Estonian Academy of Music in 2002, where he obtained a master's degree in 2004 (supervisor Prof. Mart Humal). Lock’s master’s thesis Musical material and its development in Lepo Sumera’s Fifth Symphony was awarded the 1st prize at the state contest of students researches in category of arts organised by Estonian Ministry of Education and Sciences in 2004. Lock has improved himself in Orpheus Institute in Gent a number of times (2003–2010). Since 2008 Gerhard Lock is PhD student at Estonian Academy of Music and Theatre (tension design in contemporary music, supervisor Prof. Kerri Kotta).

Gerhard Lock has worked as an archivist/internet editor in ERR (Estonina Public Broadcasting) Klassikaraadio (2005–2008), lecturer of musical subjects in Tallinn University (2005–2008), musicology researcher (2006–2008) and lecturer of musicology (since 2009) in the Department of Music of Tallinn University (TLU) former Institute of Fine Arts (since 2015 belonging to the Baltic Film, Media, Arts and Communication School BFM). He is a member of Estonian Arnold Schoenberg Society since 2003 (member of the board 2007–2012). He is founding and managing editor of the peer reviewed research journal with international board CFMAE: The Changing Face of Music and Art Education at Tallinn University BFM (since 2009). He was main researcher in Estonian Research Agency (ETAg) projects lead by Kerri Kotta 2006–2008 (Analytical methods of graphic representation and their applications to the music of 20th century) and 2010–2012 (The functional aspects of music). He is also member of the TLU Institute of Humanities Center of Scientific Language research group funded by the State Estonian Language Terminology Programm 2013–2017. Since 2009 is Lock member of several commissions at Tallinn University (e.g. Head of Art Field Council 2011–2013, eLearning quality commission 2013-14, Choreography BA examination commission 2016). Lock has supervised BA and MA theses at Tallinn University and London University, he is member of the new BFM BA curriculum Integrated Arts, Music and Multimedia development group.

In Gerhard Lock’s oeuvre, the central place is held by electro-acoustic music and its connection with other fields of art (painting, video, word, modern dance, performance, improvisation). Also philosophy has been a creative source of inspiration. In the 1990ies music of Olivier Messiaen, Arvo Pärt and Lepo Sumera had a strong influence on him. In his electronic works, he is fascinated in creating a sound world rich in subtleties, where the aural result doesn’t let to perceive the work’s basic material which often are sounds of acoustical instruments, nature, breathing or artificial environments. In Lock’s focus of interest there is an attempt to feel out the boundaries of music and arts realms – his installation music can be played also in concerts as well as his music has been part of performance events. As musician Lock has annually collaborated with the Hiiumaa Dance Festival (since 2010), is a member of the band Elvin's Tales (since 2011), the interdisciplinary performance group LAIK (since 2012), the improvisation duo Sounds Playful (since 2013) and has improvised in different contexts with several musicians, artists and poets.

As a musicologist, Gerhard Lock is devoted to the analysis of 20th and 21st century contemporary music as well as interdisciplinary arts research. He has collaborated with several researchers like Kerri Kotta, Maris Valk-Falk, Tiina Selke, Marit Mõistik-Tamm (music theory, music psychology, music education). Since 2003 he has presented many papers and issued articles on topics in musicology, music education and interdisciplinary arts research in Estonia, other European countries (e.g. Latvia, Lithuania, Belgium, Germany, Italy, Serbia, Sweden, Finland, Ireland) as well as in the USA. He has issued publications with publishers like Eres Estonia, Scripta Musicalia and Estonian Arnold Schoenberg Society, Tallinn University, and Estonian Music Information Centre. He is founding editor of two research journals with international editorial board of Tallinn University (CFMAE: The Changing Face of Music and Art Education, Res Artis), also editorial board member of the peer-review Accelerando: Belgrade Journal of Music and Dance. He is member of the Belgrad Pedagogical Forum of Performing Arts, the CAIPT Creative Arts Interconnection – Paideia – Therapy conference board at Aristotle University of Thessaloniki, and the CREUROPE Bridging domains of creativity research and making them relevant in today's Europe network as well as participated in the NordPlus ECA Explorations and Collaborations in the Arts (Innovative Creative Gatherings for Performing and Media/Film Arts) Network. He has been a keynote speaker at international conferences in Daugavpils, Belgrad and Thessaloniki. Numerous concert reviews have been published in magazines in Germany (Leipzig-Almanach) and Estonia (Teater. Muusika. Kino, Muusika and gazette Sirp). He has written booklet texts for CD's of the composers Andres Uibo (2006), Jüri Reinvere (2009) and Siim Liik (2013).

As an organizer Gerhard Lock has initiated and organized the project In Focus in collaboration with the festival Estonian Music Days, Kanuti Guild Hall, Tallinn City Library and Tallinn University with open lectures and round-table discussion Music Criticism in Focus as well as in collaboration with the blog of the music department of Tallinn City Library and the magazine Müürileht the contest In Focus of Young Critics (2010 and 2011). He has established the concert series with round-table discussions Young Composers Lab (since 2013) at BFM and is organizers' board member of the Digital Composition Contest for School Children of the BFM at Tallinn University. He regularly organises international academic conferences, e.g. symposia of Pärnu Days of Contemporary Music (since 2005) and Tallinn University former Institute of Fine Arts Department of Music, since 2015 BFM, e.g. CFMAE/YTT/TTS (The Changing Face of Music Education/Yesterday, Today, Tomorrow/Teacher Training Seminar) annual conferences (since 2009).

Among his recently internationally issued publications are articles/book chapters in Culture & Psychology ("Musical creativity in the mirror of Glaveanu's five principles of cultural psychology", 2011), the Goethe-Institute compendium Sound Exchange on Experimental Music Cultures in Central and Eastern Europe ("Mediabased music in Estonia", 2012, together with Hans-Gunter Lock), the Proceedings of the 12th International Conference on Music Perception and Cognition (ICMPC) / 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM) ("Musical tension as a response to musical form", 2012, together with Kerri Kotta), in Čiurlionis 100 ("Interaction in perception of painting and music in the triptych “Sonata of The Sea” and the orchestral poem “The Sea” by Čiurlionis, 2013, together with Maris Valk-Falk), in Voices for Tomorrow. Sixth International Journal of Intercultural Arts Education of Helsinki University ("Conceptualizing adult piano beginners’ playing experience through the NKI-approach", 2014, together with Marit Mõistlik-Tamm) as well as in the Laaber series Grundlagen der Musik ("Visualisierende Analyse", 2014) and the EAS European Association of Music in Schools series European Perspectives on Music Education ("Introduction to a model of "Reflexive Positionality", 2014).

At TLU BFM Gerhard Lock teaches among others the following subjects (partly in collaboration with colleagues): Basics of Musical Composition, Composition and Improvisation on the Digital Piano, Multimedia in Music Education, Practice of Musical Co-Creation, Music Criticism Course, 19.-20. Century Music History, Estonian Music History, Basics of Scientific Work, Sound and Light Design (for choreographers). Since Autumn 2016 he will teach also (in collaboration with colleagues) Basics of Visual and Sound Communication; Video, Performance, Sound and Media Art; Music Computer Notation; 20.-21. Century Music, Basics of Arts Research and Methodology; Cultural Event Organization Practice.

Hans-Gunter Lock (1974, Halle/S.), composer and musicologist lives and works since 2000 in Estonia.

Hans-Gunter Lock has acquired music education in Germany and Estonia. In 1994–2000, he studied music theory with Hans-Wilhelm Hösl, composition with Dimitri Terzakis and electroacoustic music with Eckard Rödger at the Leipzig Felix Mendelssohn Academy of Music and Theatre. In 2002, he received his master's degree in musicology (thesis Eduard Tubin’s use of folk tunes, supervised by Mart Humal) in Estonian Academy of Music and Theatre, where he additionally took part in courses of electronic music studio. In the years 2004-2006, Hans-Gunter Lock supplemented himself in Hamburg Academy of Music and Theatre in the field of multimedia composition with Georg Hajdú. Since September 2008, he is a PhD student at the Estonian Academy of Music and Theatre, studying composition under the guidance of Associate Professor Margo Kõlar.

Hans-Gunter Lock’s oeuvre comprises predominantly electronic and electroacoustic music, chamber works and film music. He often experiments with light, video, text, movement and sound looking for use of interactive means and options to connect different forms of art. Hans-Gunter Lock has worked together with many different performance and multimedia artists: Erik Alalooga, Loit Jõekalda, Teet Kask, Hille Karm, Liina Vedler, Allan Tõnissoo, Rait Rosin, Mai Sööt, Anna Aua. In many cases, in a cooperation improvisatory works occur that no longer claim to reproduction or even to be a work of single person as often the works / projects are related to specific performing places and certain performers or co-authors (for example performances Kinematic Mystery and InterAktoRadioDisciplinary with audience interaction, and experimental music theatre performance Mud Music Therapy Lab for actor, singer, flutist, sound designer, video designer and camera-operator).

Most recently, Hans-Gunter Lock has been increasingly engaged in real-time sound synthesis and creation of musical environments involving analogue synthesis and digital electronic instruments as well as acoustic and electromechanical instruments as disklavier. He has also created music, where sound, through the use of sensors, is synthesized of influenced by physical processes. In many of his projects he has used motion sensors as a source of sound synthesis. Hans-Gunter Lock’s way of creative thinking has been strongly influenced and renewed by the cooperation with composer and conductor Andrus Kallastu. Many alternative musical concepts as open form, interdisciplinarity, united forms of art and experimental solutions, have been discussed and practiced in their numerous projects.

In 2002–2007 Hans-Gunter Lock worked as a consultant at the Electronic Music Studio of EAMT. Since 2002, he also has been a lecturer teaching sound synthesis, sonogram analysis, algorythmic composition, live-electronics and interactive composition, analogue synthesis practice, electronic music seminar and history of electronic music. In NYYD Festival 2003 and 2005, he was the artistic director of Electronic Music Studio concerts. Since 2007, Hans-Gunter Lock has been working as the head of the New Media Department in the Estonian Academy of Arts.

Tanja Kozlova-Johannes (1977, Narva) is an Estonian composer of Russian origin. She grew up in border towns Narva and Ivangorod, situated at the border between Estonia and Russia. In 1995, she decided to dedicate herself to music studies in Estonia, at Georg Ots Tallinn Music School. In 1999, she continued to study composition at the Estonian Academy of Music and Theatre, at first with Jaan Rääts and since her second year with Helena Tulve, obtaining later also a master’s degree under her guidance. Tatjana Kozlova-Johannes has supplemented herself in various masterclasses, including Bartók Festival (Szombathelys, Hungary), Workshop for Young Composers (Dundaga, Latvia), International Summer Course for New Music in Darmstadt, Germany. In 2003-2004 she studied composition with Fabio Nieder at the Conservatory G. Tartini of Trieste, Italy. In 2004, Kozlova-Johannes was awarded third place in the youth category at the International Composers Rostrum in Paris for the work "Made of Hot Glass". In 2006, Kozlova-Johannes was awarded the Kranichsteiner Musikpreis – the main award of the International Summer Course for New Music in Darmstadt, and in 2008 the Heino Eller Music Prize. In 2011, Tatjana Kozlova-Johannes’s “Disintegration Chain” was voted among the best 10 works in the general category at the International Composers Rostrum in Vienna. In 2015, she was awarded the Annual Prize of the Endowment for Music of the Cultural Endowment of Estonia.

Pärnu Koidula GümnaasiumEdit

D.3.2. Background and Experience

Please briefly present the partner organisation (e.g. its type, size, scope of work, areas of specific expertise, specific social context and, if relevant, the quality system used).

Estonian State High School in Pärnu Koidula Gümnaasium is one of the oldest and most distinguished schools in Estonia. The school was established in 1733 as a school for girls. Today is the school one of the strongest schools in Estonia in fields of mathematics and physics.

Pärnu Koidula Gymnasium is a public gymnasium, which offers high-quality academical education and prepares young people for higher education. It is possible to study in 6 study fields: mathematics and physics, science, natural sciences, european studies, music, entrepreneurship.

What are the activities and experience of the partner organisation in the areas relevant for this project? What are the skills and/or expertise of key persons involved in this project?

Testing of composition learning tools in practical work.

Music teacher Indrek Palu have possibilities to implement new methods. Teacher involved in the project has BA in music composition and has pedagogical experience for years in general education in basic and secondary school level, as well as been teaching in musical schools. He has developed an optional course at school - electronical music.

The school has various optional courses and the attitude is supportive to develope some more in addition. The outcome of the current project - study programme would be teached as optional course at school.

As Pärnu Koidula Gymnasium is a school in which students learn mathematics and physics in depth, in this school we are able to carry out special courses of the mathematics of music (cf., which support the teaching of musical composition.

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