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��������֮����-����ѧ��������ʵ¼��Ӣ�İ棩��������The workshop on Finnish kantele for the students of the conservatory�� provided by kantele artist Vilma Timonen�� was about different versions of the instrument�� their playing techniques and repertoire. Kantele is a zither that is played by finger tops. It is one of the most ancient instruments played in Finland. It is named as the Finnish national instrument despite the fact that it has been and still is also widely played among the Baltic peoples�� in Latvia it is known as kokle or kuokle�� in Lithuania as kankles and in Estorua kannel.����The smallest and oldest version of the instrument was made of a single block of wood and it has five strings. The largest and most developed one has 36 strings and it has a mechanism to change the tuning while playing. Since it is commonly used for the execution of western art music in concert situations it is called concert kan��tele.ln addition�� there are also 9-stringed and 15-stringed kanteles�� which are used to play traditional music. After the 2nd World War there were not many kantele players left in the country and the kantele tradition almost became extinct. When the wings of the folk music revival movement swept over the Westem world in the late 1960s and early 1970s�� some traditional kantele players became nationally known and many young people were inspired to play kantele. In the 1980s�� kantele playing began to be taught at the Sibelius Academy. Since then�� Finnish kantele music has flourished. It became a cross over genre�� art music composers compose works for kan.tele�� and musicians connected it with electronics-using sound processing and loud speakers-in order to play popular music with it�� while some other musicians tended to stay more within the realm of folk music. Today however�� because of its simple structure and playing technique�� the 5-stringed kanteleis the most widely used traditional instrument in Finland�� thanks to its state promotion in the 1980s. It is also used in schools as children's first instrument.����As kantele has many different sizes��it also has different playing techniques and repertoires. In Finland�� the two most distinctive kantele styles are known as the Western�� Haapavesi style which is amore melody-based genre and the Eastem style�� which is more improvisational. In the Western style�� the right hand plays the melody while the left hand plays the accompaniment. The Eastern style is not so melody-centered and both hands participate in a similar way in the production of music. Timonen demonstrated improvisational styles of playing kantele. Such kind of improvisational pieces�� which consist of constant variations�� do not have a certain beginning or end but they may last as long as the musician wishes. Some of the Chinese participants in Timonen's workshop found a similarity between the Clunese guqin and Finnish kantele.����Another workshop focused on Finnish peliman��ni music and traditional fiddle playing from Ostrobothnia of Western Finland�� pEuticularly from the municipality of Kaustinen which today�� yearly hosts the biggest folk music festival in Finland. The leader of the workshop was Mauno Jdrvela�� who is a well-known and respected professional violinist and folk music educator who has inspired and taught hundreds of children to play fiddle. His pedagogy is based on the oral transmission of the decorative fiddle melodies. At the workshop�� he was assisted by his son Esko Jarvela�� who is also a professional violin player firmly rooted in the Kaustinen fiddle tradition.����Tonal peliman��ni �� the word pelimanni originates in Swedish spelman.�� "player man"tradition�� music came to Finland from Sweden in the 17th century. However�� this kind of tonal music originates in Central Europe. In comparison to kan��tele it represents a newer layer of Finnish folk music tradition. From the 18th century onwards peliman��n��i music was played mostly by fiddles�� but it has also been played by clarinets adopted from military bands as well as different kinds of accordions. The main use of pelimanni tunes was to accompany dance�� hence its rhythmic character. During the course of the first part of the 20th century�� popular dance music orchestras gradually ousted the last of the old remaining forms of fiddle music.����Of the variety of fiddle tune genres�� the father and son Jarvela taught a polska�� a nunuet�� a march�� a polka and a waltz to the students of the conservatory. One can claim that polskas�� which are one of the earliest manifestations of pelimann��i music represent it at its very best. However�� waltzes may be more popular because they have a special role in weddings.ln addition to teaching the core melodies of these fiddle tunes�� Jarvela taught the students how to decorate them with short glissandos and melismas. Particularly because it makes them more danceable�� rhythmic accentuation is an important part of these tunes.��������