Date of birth: 27 November 1955
postgraduate studies in the Russian Academy of Music, 2000; PhD, Art Studies 2003
Gnessin State Musical College (currently the Russian Academy of Arts in Moscow), Chair of Music History and Theory and Composition, 1973-1978; Tadzhik State Music School, Department of Piano and Music Theory (1962-1973)
Languages: Persian, Estonian, active Russian intermediate German and English
Professional experience, including current position:
UT Viljandi Culture Academy, associate professor of Music Theory, 2015
UT Viljandi Culture Academy, associate professor of Music Theory, 2007-2012;
Estonian Literary Museum, junior research fellow in the sector of Folk Musicology, 2006-2013;
UT Viljandi Culture Academy Department of Music, extraordinary lecturer, 2005-2007;
Viljandi Music School, piano teacher and concertmaster, 1996-2010;
Viljandi Culture College, lecturer, 1996-2005;
Viljandi Paalalinna Gymnasium (currently School), head of the piano club since 1994;
Viljandi Culture College, concertmaster, 1993-1996;
Estonian Literary Museum, trainee in the Estonian Folklore Archives, 1990-1993;
Tajik Academy of Sciences, Institute of History, junior research fellow in the Art History sector, 1980-1993;
Tajik Art Institute Department of Folk Instruments, lecturer of Theory and Folklore, 1980-1990;
Tajik Academy of Sciences Institute of History, senior technical assistant in the Art History sector, 1978-1980;
Tajik State Music School, solfeggio teacher, 1972-1973.
II Research and Development activities
Main fields of research:
a) Estonian folk music
I have published two articles on this topic. The first observes the development of Estonian folk music. The article concentrates on instrumental variations of folk music with special attention on the Estonian kannel (box zither). (List of publications, no. 3)
The second article is a detailed study in the same field. The paper outlines the characteristics of Estonian folk music and traces it roughly back to earlier folk music that is no longer played, while also highlighting its connections with other types of music such as country, pre-World War II dance and schlager music, European folk music, classics and the work of Estonian composers.
b) Pamirian traditional instrumental music
I have published four articles on this topic in 2010-2016:
1. A study of folk terminology used by the players of Pamirian traditional instruments.
2. Classification of Pamirian folk instruments on the basis of the Hornbostel-Sachs system with a table and descriptions of playing methods.
3. Typological analysis of the instrumental versions of Pamirian lullaby Lalaik.
4. Types of polyphony in Pamirian traditional instrumental music and their analysis.
c) interconnections between Estonian folk and art music
I have published one article on this topic, which studies the interconnections between folk and art music on the example of three treatments of one instrumental piece.
- Three versions of one instrumental piece.
Vana polka Saaremaalt (Old Polka from Saaremaa) by the folk musician Kandle-Juss has inspired both the composer Eduard Tubin's masterful piano piece Kandle polka (Zither Polka) and the pianist-improviser Leida Idla's Ringliikumine (Circle Move).
d) Estonian refugee musicians
I have published one article on this topic, in which I look at three musicians of different backgrounds – Kandle-Juss, Eduard Tubin and Leida Idla.
- Three versions of one instrumental piece.
I also wrote a book on this topic, which provides an overview of the life, work and performances of Kandle-Juss (born Johannes Rosenstrauch, 1891-1958), an Estonian kannel virtuoso from the first half of the 20th century.
1. Kandle-Jussi ehk Johannes Rosenstrauchi muusikapärand (The legacy of Kandle-Juss (Johannes Rosenstrauch)).
The first part of the book provides the sources and their origin. This is followed by biographical data: an overview of Kandle-Juss' childhood and his way to becoming a musician in the Tsarist era, his fame and success as an Estonian kannel player in and life as a refugee in Sweden. The first part ends with the description of types of kannel and kannel pieces and an analysis of Kandle-Juss' performance style.
The second part of the book contains the sheet music of 93 Kandle-Juss' instrumental pieces written down by the author. All of the notations (apart from two) are based on the copies of Kandle-Juss' tape recordings produced in Sweden in 1956-1958. Each piece comes with the editor's comments, form scheme of the piece and an analysis of harmony.
e) the development of Estonian kannel (up to the modern version)
I have published two articles and conference theses on this topic.
1. Kuidas kujuneb pillimeeste rahvapärane repertuaar (The Development of Musicians' Folk Repertoire)
2. Eesti kannel: Väino Maala pillid (Estonian Kannel: Väino Maala's Instruments)
3. Eesti rahvakandle häälestus Kandle-Jussi (Johannes Rosenstrauchi) näitel (The Tuning of the Estonian Folk Kannel on the Example of Kandle-Juss (Johannes Rosenstrauch))
The total number of publications is 28, eight of which have been published in the last six years (2010-2016)
Member of the Estonian Piano Teachers Association
Member of the Estonian Idla Society
Member of the Estonian Folklore Council work group for the mapping and recording of folk kannel players