The International Language of Music

It is said that music is the international language. Being so, without lining the largely arguments, I dare to take the liberty to introduce some of my songs in Finnish which I have uploaded to YouTube. The first one is called Suprusuu, a person whose lips looks like they were ready to kiss someone. The Second one is named Kannan tunturilla, I am carrying a little baby child in my arms.

Suprusuu is a humorous story about the young lad who leaves his love one in the countryside and moves to the city to get better life but he doesn’t like it in the city. He is constantly longing for his pretty sensual mouth girlfriend. Finally he decides return back to his rural home. When the decision is made he almost flies in the air wondering if his girl is still waiting for him. You find the video here.

I have recorded Suprusuu with my good friend Aarre Hakomäki straight off. The song is born at the same time it was extemporized by us. We hardly had time to switch the radio recorder on so the quality of the sound is not the best of all but the feeling is unique.

Kannan tunturilla is a nice story about the mother who is carrying her baby child in her arms and wandering in the mountains. She is charmed by the beauty of nature where she sees willow ptarmigans, reindeers and the dancing sorrels in the wind. Her gratitude to life is overwhelming. You find the video here.

Kannan tunturilla is one of the songs from the Hiljaisia lauluja album. I made the album with Jouni Juola in 1996. I made the lyrics and melody of this particularly song and Jouni sang it. On the album there are also some of Jouni’s songs. We played the instruments together. If we translate Hiljaisia lauluja straight from Finnish to English we get the equivalent Silent songs but of course we are talking about the peaceful and lightened songs. The postcards on the video are made by me and you find them here.

I hope that the idea and feeling of these songs would reach you even though you didn’t speak Finnish.


About Yelling Rosa

I desing home pages. In my spare time I read, write, play the guitar and hike. I have published three verse books in Finnish and recorded my songs. You can listen to them on YouTube. I have translated some of my poems on Yelling Rosa's Weblog. I also like to watch movies. Olen kiinnostunut lukemisesta, kirjoittamisesta, kitaransoitosta ja luonnossa vaeltamisesta. Olen julkaissut kolme runokirjaa ja laulujani on äänitteillä. Voit lukea runojani Yelling Rosan kotisivuilta ja kuunnella laulujani YouTubessa. Olen elokuvafriikki.
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2 Responses to The International Language of Music

  1. Music and Emotions

    The most difficult problem in answering the question of how music creates emotions is likely to be the fact that assignments of musical elements and emotions can never be defined clearly. The solution of this problem is the Theory of Musical Equilibration. It says that music can’t convey any emotion at all, but merely volitional processes, the music listener identifies with. Then in the process of identifying the volitional processes are colored with emotions. The same happens when we watch an exciting film and identify with the volitional processes of our favorite figures. Here, too, just the process of identification generates emotions.

    An example: If you perceive a major chord, you normally identify with the will “Yes, I want to…”. If you perceive a minor chord, you identify normally with the will “I don’t want any more…”. If you play the minor chord softly, you connect the will “I don’t want any more…” with a feeling of sadness. If you play the minor chord loudly, you connect the same will with a feeling of rage. You distinguish in the same way as you would distinguish, if someone would say the words “I don’t want anymore…” the first time softly and the second time loudly.
    Because this detour of emotions via volitional processes was not detected, also all music psychological and neurological experiments, to answer the question of the origin of the emotions in the music, failed.

    But how music can convey volitional processes? These volitional processes have something to do with the phenomena which early music theorists called “lead”, “leading tone” or “striving effects”. If we reverse this musical phenomena in imagination into its opposite (not the sound wants to change – but the listener identifies with a will not to change the sound) we have found the contents of will, the music listener identifies with. In practice, everything becomes a bit more complicated, so that even more sophisticated volitional processes can be represented musically.

    Further information is available via the free download of the e-book “Music and Emotion – Research on the Theory of Musical Equilibration:

    or on the online journal EUNOMIOS:

    Enjoy reading

    Bernd Willimek, music theorist

    Liked by 2 people

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