Sociomusicology: Kampin Laulu and Panula

11/1/08

Kampin Laulu and Panula

Last night I sang for a recording session with the Kampin Laulu Chamber Choir at Jorma Panula’s house. We recorded Panula’s recent choral works for small men’s chorus. Panula is one of Europe’s most respected conducting pedagogues, and his former students serve as conductors for several of the world’s leading symphony orchestras and choirs. Panula’s new works feature attractive harmonies and textures – a challenge to sight read, but well worth the effort. I have been singing as a member of Kampin Laulu for about 2 months, and we have concerts coming up in a few weeks.

Related websites:

http://en.wikipedia.org/wiki/Jorma_Panula

http://www.jormapanula.com/

http://www.kampinlaulu.fi/

At its next concert, Kampin Laulu will perform some very attractive and interesting new choral pieces by Finnish composer Tapani Lansio: http://www.fimic.fi/fimic/fimic.nsf/mainframe?readform&lansio+tapani

More information on Finnish music may be obtained from the Finnish Music Information Centre:
http://www.fimic.fi/fimic/fimic.nsf/naviframe?readform&f=mic1f3.htm&m=5.1&ct=0

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Welcome to Sociomusicology

For over 15 years (since 2007), this website has offered musings on contemporary society and its music by David G. Hebert, PhD. He is a sociomusicologist specializing in global music education who has held academic positions with universities on five continents. Dr. Hebert is now a tenured full Professor with Western Norway University of Applied Sciences, Bergen. There he leads the Grieg Academy Music Education (GAME) research group and manages the multinational government-funded Nordic Network for Music Education, which organizes annual intensive Master courses and exchange of teachers and students across eight countries. He is also an Affiliated Professor with University of the Faroe Islands and an Honorary Professor in China with the Education University of Hong Kong.

Professor Hebert's research applies an international-comparative perspective to issues of pluralism, identity, and cultural relevance in music education, as well as processes by which new music traditions emerge and change - both sonically and socially - as they are adopted into institutions. Born in the 1970s, he is among the most widely-published and globally-active music scholars of his generation (h-index:20; i10-index:30), with professional activities in an average of 8 countries per year across the past decade (2008-2020).