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Labour Market Areas Final Technical Report of the Finnish Project September 2017
Eurostat – Labour Market Areas – Final Technical report – Finland 1(37) Labour Market Areas Final Technical report of the Finnish project September 2017 Data collection for sub-national statistics (Labour Market Areas) Grant Agreement No. 08141.2015.001-2015.499 Yrjö Palttila, Statistics Finland, 22 September 2017 Postal address: 3rd floor, FI-00022 Statistics Finland E-mail: [email protected] Yrjö Palttila, Statistics Finland, 22 September 2017 Eurostat – Labour Market Areas – Final Technical report – Finland 2(37) Contents: 1. Overview 1.1 Objective of the work 1.2 Finland’s national travel-to-work areas 1.3 Tasks of the project 2. Results of the Finnish project 2.1 Improving IT tools to facilitate the implementation of the method (Task 2) 2.2 The finished SAS IML module (Task 2) 2.3 Define Finland’s LMAs based on the EU method (Task 4) 3. Assessing the feasibility of implementation of the EU method 3.1 Feasibility of implementation of the EU method (Task 3) 3.2 Assessing the feasibility of the adaptation of the current method of Finland’s national travel-to-work areas to the proposed method (Task 3) 4. The use and the future of the LMAs Appendix 1. Visualization of the test results (November 2016) Appendix 2. The lists of the LAU2s (test 12) (November 2016) Appendix 3. The finished SAS IML module LMAwSAS.1409 (September 2017) 1. Overview 1.1 Objective of the work In the background of the action was the need for comparable functional areas in EU-wide territorial policy analyses. The NUTS cross-national regions cover the whole EU territory, but they are usually regional administrative areas, which are the re- sult of historical circumstances. -
Leevi Madetoja (1887–1947) Symphony No
Leevi Madetoja (1887–1947) Symphony No. 2 / Kullervo / Elegy 1. Kullervo, Symphonic Poem, Op. 15 14:13 Symphony No. 2, Op. 35 2. I. Allegro moderato – 13:23 LEEVI MADETOJA II. Andante 13:36 SYMPHONY NO. 2 III. Allegro non troppo – 9:39 KULLERVO IV. Andantino 4:53 ELEGY 3. Elegy, Op. 4/1 (First movement from the Symphonic Suite, Op. 4) 5:53 –2– Leevi Madetoja To be an orchestral composer in Finland as a contemporary of Sibelius and nevertheless create an independent composer profile was no mean feat, but Leevi Madetoja managed it. Though even he was not LEEVI MADETOJA completely immune to the influence of SYMPHONY NO. 2 his great colleague, he did find a voice for KULLERVO ELEGY himself where the elegiac nature of the landscape and folk songs of his native province of Ostrobothnia merged with a French elegance. Madetoja’s three symphonies did not follow the trail blazed by Sibelius, and another mark of his independence as a composer is that his principal works include two operas, Pohjalaisia (The Ostrobothnians, 1924) and Juha (1935), a genre that Sibelius never embraced. Madetoja emerged as a composer while still a student at the Helsinki Music Institute, when Robert Kajanus conducted his first orchestral work, elegy (1909) for strings, in January 1910. The work was favourably received and was given four further performances in Helsinki that spring. It is a melodically charming and harmonically nuanced miniature that betrays the influence of Tchaikovsky in its achingly tender tones. Later, Madetoja incorporated Elegia into his four-movement Sinfoninen sarja (Symphonic Suite, 1910), but even so it is better known as a separate number. -
Eric Aho BORN 1966 EDUCATION 1984
Eric Aho BORN 1966 EDUCATION 1984 - 88 BFA, Massachusetts College of Art, Boston, MA 1986 - 87 Diploma, Advance Studies in Printmaking, Central School of Art and Design, London, United Kingdom 1988 - 89 Graduate study, Instituto Superior de Arte, Havana, Cuba; Massachusetts College of Art, Boston, MA 1991 - 92 Postgraduate certificate, Institute of Art and Design, Lahti, Finland SELECTED SOLO EXHIBITIONS 2020 Eric Aho: Source, DC Moore Gallery, NY 2018 Eric Aho: Guide, DC Moore Gallery, NY Eric Aho: A Thousand Acres, Highland Center for the Arts, Greensboro, VT 2017-18 Eric Aho: Meeting Place, Tayloe Piggott Gallery, Jackson, WY 2017 Eric Aho: Inflection Point, DC Moore Gallery, New York, NY Eric Aho: Ice Houses, Hiram Butler Gallery, Houston, TX 2016 Eric Aho: Toward a Bright Opening, Catamount Arts, St. Johnsbury, VT Eric Aho: An Unfinished Point in a Vast Surrounding, New Britain Museum of American Art, CT Eric Aho: Ice Cuts, Hood Museum of Art, Hanover, NH Eric Aho, St. Botolph Club, Boston, MA 2015 Eric Aho: Wilderness Studio, DC Moore Gallery, New York, NY 2013 Eric Aho: Translation, DC Moore Gallery, New York, NY Eric Aho: In the Landscape, Federal Reserve Board, Washington, DC 2012 Transcending Nature: Paintings by Eric Aho, Currier Museum of Art, Manchester, NH 2011 Eric Aho: Covert, DC Moore Gallery, New York, NY 2010 Occurrence, Tory Folliard Gallery, Milwaukee, WI Eric Aho: Memory and Invention, Hidell Brooks Gallery, Charlotte, NC 2009 Eric Aho: Red Winter, DC Moore Gallery, New York, NY Eric Aho: Ice Box, Brattleboro Museum -
Maamme Unser Land
Maamme Unser Land Finnische Nationalhymne seit 1848 Text: Johan Ludwig Runeberg (1804 – 1877) Melodie: Fredrik Pacius (1809 – 1891) Finnlands Nationalhymne (Maamme, nebenan Titelseite) wurde ursprünglich als Prolog zu Runebergs Dichtung Erzählungen des Fähnrich Stahl verfasst. Die erste Aufführung fand am 13. Mai 1848 statt. Die finnische Nachdichtung des Textes wurde 1889 von Paavo Cajander (1846 – 1913) erstellt. Der aktuelle Text der Hymne geht aber zurück auf eine aus dem Jahr 1867 stammende Übersetzung von Julius Krohn (1835 – 1888). Bei offiziellen Anlässen werden gewöhnlicherweise nur die erste und die letzte (11.) Strophe gesungen. Die autonome Inselgruppe Åland besitzt eine eigene Nationalhymne, Ålänningens sång („Lied des Åländers“). Dieselbe Melodie dient auch in Estland als Nationalhymne (wieder seit der Unabhängigkeit 1990) gesungen mit dem Text Mu isamaa („Mein Vaterland“). Auch die Liven verwenden die Melodie für ihre Hymne Min iz āmō. Seit 1923 ist die Religionsfreiheit in der finnischen Verfassung garantiert. Die Evangelisch- Lutherische Kirche und die Orthodoxe Kirche sind per Gesetz als Volkskirchen festgeschrieben und genießen besondere Vorrechte. Ihre Mitglieder zahlen eine Kirchensteuer in Höhe von 1 bis 2,25 % ihres Einkommens, zudem erhalten die Volkskirchen staatliche Zuwendungen für soziale und karitative Zwecke und Instandsetzungsaufgaben. Obwohl die finnische Gesellschaft weitgehend säkularisiert ist, sind rund 80 % der Bevölkerung konfessionell gebunden. Hymnentext 1. und 11. von 11 Strophen (von Benny Benz ) (1.) O Heimat, Finnland unser Land Kling laut, du teures Wort! Kein Land, so weit der Himmelsrand. Kein Land mit Berg und Tal und Strand Wird mehr geliebt als unser Nord, Hier unsrer Väter Hort. (2.) Einst ringt sich deine Blüte los Reif aus der Knospe Zwang. -
SIUNTION KUNTA • SJUNDEÅ KOMMUN Elinkeinopoliittisen
SIUNTION KUNTA • SJUNDEÅ KOMMUN Elinkeinopoliittisen ohjelman liite 3 Toimintaympäristö Tavoitteiden, päämäärien ja toimenpiteiden muodostamiseksi on tunnettava kunnan nykyinen toimintaympäristö. Toimintaympäristössä elinkeinojen kannalta keskeisiä ovat väestörakenne, väestön koulutustaso, työpaikkojen jakautuminen toimialoittain, työpaikkaomavaraisuusaste, kuntaan ja kunnasta muutto, verorakenne sekä nykyinen palvelurakenne. Väestö- ja elinkeinorakenne 1991 1996 2001 2006 2011 Työvoima 2296 2271 2601 2876 3143 Työlliset 2123 2006 2416 2742 2997 Työttömät 173 265 185 134 146 Työvoiman ulkopuolella olevat 2047 2207 2317 2702 3005 0-14 -vuotiaat 945 961 1039 1266 1327 Opiskelijat, koululaiset 279 327 275 339 398 Varusmiehet, siviilipalvelusmiehet 10 15 18 10 8 Eläkeläiset 643 756 813 912 1079 Muut työvoiman ulkopuolella olevat 170 148 172 175 193 Koko väestö 4343 4478 4918 5578 6148 Taulukko 1. Siuntion väestö pääasiallisen toiminnan mukaan vuosina 1991, 1996, 2001, 2006 ja 2011 (Lähde: Tilastokeskus) Koulutustaso Lukumäärä Prosenttiosuus Ei perusasteen jälkeistä tutkintoa 1553 32,2 Tutkinnon suorittaneita yhteensä 3268 67,8 15 vuotta täyttänyt väestö yhteensä 4821 100,0 Tutkinnon taso Lukumäärä Prosenttiosuus Keskiaste 1658 34,4 Alin korkea-aste 613 12,7 Alempi korkeakouluaste 454 9,4 Ylempi korkeakouluaste 493 10,2 Tutkijakoulutusaste 50 1,0 Yhteensä tutkinnon suorittaneita 3268 67,8 Taulukko 2. 15 vuotta täyttänyt väestö koulutusasteen mukaan vuonna 2011 (Lähde: Tilastokeskus) Liite 3, Elinkeinopoliittinen ohjelma 1/8 Siuntion kunta SIUNTION KUNTA • SJUNDEÅ KOMMUN Tulo- ja lähtömuutto 1991 1996 2001 2006 2011 2035* Koko väestö 4343 4478 4918 5578 6148 8 368 Määrällinen kasvu - 135 440 660 570 2 220 Väestön kasvu (%) - 3,1 9,8 13,4 10,2 36,1 Taulukko 3. Väestön kasvu verrattuna edelliseen ajankohtaan vuosina 1991 - 2011. -
International Evaluation of Research and Doctoral Training at The
INTERNATIONAL EVALUATION OF RESEARCH AND DOCTORAL TRAINING AT THE UNIVERSITY OF HELSINKI 2005–2010 RC-Specific Evaluation of CPHS – Centre for Population, Health and Society Seppo Saari & Antti Moilanen (Eds.) Evaluation Panel: Social Sciences INTERNATIONAL EVALUATION OF RESEARCH AND DOCTORAL TRAINING AT THE UNIVERSITY OF HELSINKI 2005–2010 RC-Specific Evaluation of CPHS – Centre for Population, Health and Society Seppo Saari & Antti Moilanen (Eds.) University of Helsinki Administrative Publications 80/123 Evaluations 2012 Publisher: University of Helsinki Editors: Seppo Saari & Antti Moilanen Title: Type of publication: International Evaluation of Research and Doctoral Training at the University of Evaluations Helsinki 2005–2010 : RC-Specific Evaluation of CPHS – Centre for Population, Health and Society Summary: Researcher Community (RC) was a new concept of the participating unit in the evaluation. Participation in the evaluation was voluntary and the RCs had to choose one of the five characteristic categories to participate. Evaluation of the Researcher Community was based on the answers to the evaluation questions. In addition a list of publications and other activities were provided by the TUHAT system. The CWTS/Leiden University conducted analyses for 80 RCs and the Helsinki University Library for 66 RCs. Panellists, 49 and two special experts in five panels evaluated all the evaluation material as a whole and discussed the feedback for RC-specific reports in the panel meetings in Helsinki. The main part of this report is consisted of the feedback which is published as such in the report. Chapters in the report: 1. Background for the evaluation 2. Evaluation feedback for the Researcher Community 3. -
Mini-Europe. in These Times of Crisis and These Years of Remembrance Of
"Mini-Europe offers a unique opportunity to experience and see first hand the beauty and diversity of our continent. Europe is a political endeavour which we in the European Parliament fight to defend, but it is also a cultural treasure whose value must be learnt and seen by Europeans and foreigners alike." Martin SCHULZ Martin SCHULZ, Donald TUSK, President of the President of the * * "I said that Europe needs to be big on big things and small on small things. European Parliament. European Council. Well, Mini-Europe is now the only place in the EU where it is allowed to be small on big things !" Jean-Claude JUNCKER "This concept, Europe, will make the common founda- tion of our civilisation clear to all of us and create little by little a link similar to the one with which the nations were forged in the past." Robert Schuman Jean-Claude JUNCKER, Federica MOGHERINI, President of the Commission High Representative of the European Union.* for the Common Foreign and Security Policy.* Thierry MEEÙS Director Mini-Europe Welcome to Mini-Europe. Éducation ASBL In these times of crisis and these years of remembrance of the 1914-18 war, we must not forget that the European Union and the Euro have maintained solidarity between Europeans. A hundred years ago, nationalism and competition between nations led us to war. This guide is an essential help on your trip through The European Union. As Robert Schuman said, you will find out what these people, regions and countries have in common … and what makes each one special. -
And Estonian Kalev
Scandinavian Kalf and Estonian Kalev HILDEGARD MUST OLD ICELANDIC SAGAStell us about several prominent :men who bore the name Kalfr, Kalfr, etc.1 The Old Swedish form was written as Kalf or Kalv2 and was a fairly common name in Viking-age Scandinavia. An older form of the same name is probably kaulfR which is found on a runic stone (the Skarby stone). On the basis of this form it is believed that the name developed from an earlier *Kaoulfr which goes back to Proto-Norse *KapwulfaR. It is then a compound as are most of old Scandinavian anthroponyms. The second ele- ment of it is the native word for "wolf," ON"ulfr, OSw. ulv (cf. OE, OS wulf, OHG wolf, Goth. wulfs, from PGmc. *wulfaz). The first component, however, is most likely a name element borrowed from Celtic, cf. Old Irish cath "battle, fight." It is contained in the Old Irish name Cathal which occurred in Iceland also, viz. as Kaoall. The native Germ.anic equivalents of OIr. cath, which go back to PGmc. hapu-, also occurred in personal names (e.g., as a mono- thematic Old Norse divine name Hr;or), and the runic HapuwulfR, ON Hr;lfr and Halfr, OE Heaouwulf, OHG Haduwolf, Hadulf are exact Germanic correspondences of the hybrid Kalfr, Kalfr < *Kaoulfr. However, counterparts of the compound containing the Old Irish stem existed also in other Germanic languages: Oeadwulf in Old English, and Kathwulf in Old High German. 3 1 For the variants see E. H. Lind, Nor8k-i8liind8ka dopnamn och fingerade namn fran medeltiden (Uppsala and Leipzig, 1905-15), e. -
Finnish Studies Volume 18 Number 2 July 2015 ISSN 1206-6516 ISBN 978-1-937875-95-4
JOURNAL OF INNISH TUDIES F S International Influences in Finnish Working-Class Literature and Its Research Guest Editors Kirsti Salmi-Niklander and Kati Launis Theme Issue of the Journal of Finnish Studies Volume 18 Number 2 July 2015 ISSN 1206-6516 ISBN 978-1-937875-95-4 JOURNAL OF FINNISH STUDIES EDITORIAL AND BUSINESS OFFICE Journal of Finnish Studies, Department of English, 1901 University Avenue, Evans 458 (P.O. Box 2146), Sam Houston State University, Huntsville, TX 77341-2146, USA Tel. 1.936.294.1420; Fax 1.936.294.1408 SUBSCRIPTIONS, ADVERTISING, AND INQUIRIES Contact Business Office (see above & below). EDITORIAL STAFF Helena Halmari, Editor-in-Chief, Sam Houston State University; [email protected] Hanna Snellman, Co-Editor, University of Helsinki; [email protected] Scott Kaukonen, Assoc. Editor, Sam Houston State University; [email protected] Hilary Joy Virtanen, Asst. Editor, Finlandia University; hilary.virtanen@finlandia. edu Sheila Embleton, Book Review Editor, York University; [email protected] EDITORIAL BOARD Börje Vähämäki, Founding Editor, JoFS, Professor Emeritus, University of Toronto Raimo Anttila, Professor Emeritus, University of California, Los Angeles Michael Branch, Professor Emeritus, University of London Thomas DuBois, Professor, University of Wisconsin Sheila Embleton, Distinguished Research Professor, York University Aili Flint, Emerita Senior Lecturer, Associate Research Scholar, Columbia University Titus Hjelm, Lecturer, University College London Richard Impola, Professor Emeritus, New Paltz, New York Daniel Karvonen, Senior Lecturer, University of Minnesota, Minneapolis Andrew Nestingen, Associate Professor, University of Washington, Seattle Jyrki Nummi, Professor, Department of Finnish Literature, University of Helsinki Juha Pentikäinen, Professor, Institute for Northern Culture, University of Lapland Oiva Saarinen, Professor Emeritus, Laurentian University, Sudbury George Schoolfield, Professor Emeritus, Yale University Beth L. -
The Role of the Kalevala in Finnish Culture and Politics URPO VENTO Finnish Literature Society, Finland
Nordic Journal of African Studies 1(2): 82–93 (1992) The Role of the Kalevala in Finnish Culture and Politics URPO VENTO Finnish Literature Society, Finland The question has frequently been asked: would Finland exist as a nation state without Lönnrot's Kalevala? There is no need to answer this, but perhaps we may assume that sooner or later someone would have written the books which would have formed the necessary building material for the national identity of the Finns. During the mid 1980s, when the 150th anniversary of the Kalevala was being celebrated in Finland, several international seminars were held and thousands of pages of research and articles were published. At that time some studies appeared in which the birth of the nation state was examined from a pan-European perspective. SMALL NATION STATES "The nation state - an independent political unit whose people share a common language and believe they have a common cultural heritage - is essentially a nineteenth-century invention, based on eighteenth-century philosophy, and which became a reality for the most part in either the late nineteenth or early twentieth century. The circumstances in which this process took place were for the most part marked by the decline of great empires whose centralised sources of power and antiquated methods of administrations prevented an effective response to economic and social change, and better education, with all the aspirations for freedom of thought and political action that accompany such changes." Thus said Professor Michael Branch (University of London) at a conference on the literatures of the Uralic peoples held in Finland in the summer of 1991. -
TOCC0416DIGIBKLT.Pdf
ERKKI MELARTIN Songs to Swedish Texts Four Runeberg Settings 1 Mellan friska blomster (‘Among budding fowers’), Op. 172, No. 2 (1931?) 0:48 2 Flickans klagan (‘The Girl's Lament’), Op. 14, No. 1 (1901)* 2:16 3 Törnet (‘The Thornèd Rose’), Op. 170, No. 3 (1931) 1:36 Hedvig Paulig, soprano 4 Stum kärlek (‘Silent Love’), Op. 116, No. 5 (1919) 2:21 Ilmo Ranta, piano Jan Söderblom, violin 10 – 13 , 22 Five Hemmer Settings 5 Mitt hjärta behöver… (‘My heart requires…’), Op. 116, No. 6 (1919) 2:30 6 Under häggarna (‘Under the Bird-Cherry Trees’), Op. 86, No. 3 (1914) 1:44 7 Bön om ro (‘Prayer for Rest’), Op. 122, No. 6 (1924) 2:03 8 Elegie (‘Elegy‘), Op. 96, No. 1 (1916) 2:56 9 Akvarell (‘Watercolour‘), Op. 96, No. 2 (1916) 1:56 Tagoresånger (‘Tagore Songs’), Op. 105 11:54 10 No. 1 Skyar (‘Clouds’) (1914) 3:20 11 No. 2 Sagan om vårt hjärta (‘The Tale of our Heart’) (1918) 2:24 12 No. 3 Smärtan (‘The Pain’) (1918)** 2:53 13 No. 4 Allvarsdagen (‘On the Last Day’) (1914) 3:17 Other Swedish Settings 14 Skåda, skåda hur det våras (‘See, see how the spring appears’), Op. 117, No. 2 (Löwenhjelm; 1921)* 1:57 15 I skäraste morgongryning (‘As aurora broke’), Op. 21, No. 2 (Tavaststjerna; 1896) 3:20 16 Marias vaggsång (‘Mary’s Lullaby’), Op. 3, No. 1 (Levertin; 1897)*** 3:24 17 Maria, Guds moder (‘Mary, Mother of God’), Op. 151, No. 2 (R. Ekelund; 1928) 3:13 18 Stjärnor (‘Stars’), Op. -
Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting
Estonian Academy of Music and Theatre Sasha Mäkilä Conducting Madetoja Discoveries About the Art and Profession of Conducting A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy (Music) Supervisor: Prof. Mart Humal Tallinn 2018 ABSTRACT Conducting Madetoja. Discoveries About the Art and Profession of Conducting For the material of my doctoral project, I have chosen the three symphonies of the Finnish composer Leevi Madetoja (1887–1947), all of which I have performed in my doctoral concerts during years 2012–2017. In my doctoral thesis, I concentrate on his first symphony, Op. 29, but to fully understand the context it would be beneficial to familiarize oneself with my doctoral concerts on the accompanying DVDs, as well as with the available commercial and archival recordings of Madetoja’s three symphonies. The aim of this thesis is to understand the effect of scholarly activity (in this case working with manuscripts and recordings) on the artistic and practical aspects of a conductor’s work; this is not a study on the music of Madetoja per se, but I am using these hitherto unknown symphonies as a case study for my research inquiries. My main research inquiry could be formulated as: What kind of added value the study of composer’s manuscripts and other contemporary sources, the analysis of the existing recordings of the work by other performers, and the experience gained during repeated performances of the work, bring to performing (conducting) the work, as opposed to working straightforwardly using only the readily available published edition(s)? My methods are the analysis of musical scores, manuscripts and recordings, critical reflection on my own artistic practices, and two semi-structured interviews with conductor colleagues.