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Kantele

The kantele is a traditional Finnish plucked string instrument classified as a chordophone and belonging to the Baltic psaltery family of box zithers, typically featuring a trapezoidal or triangular wooden body with 5 to 40 or more strings stretched across a soundboard, producing bright, resonant tones when played by plucking with the fingers.^[1]^[2] Recognized as the national instrument of Finland, it holds deep cultural significance as a symbol of Finnish identity and heritage, often associated with ancient oral traditions and the epic poetry of the Kalevala.^[1] Originating in the regions east and north of the Baltic Sea among Finno-Ugric peoples, the kantele's history traces back potentially 1,000 to 3,000 years, evolving from ancient lyre-like forms documented as early as the 13th century in the medieval Baltic area.^[3]^[2] The instrument gained renewed prominence in the 19th century through the national romanticism movement and the compilation of the Kalevala by Elias Lönnrot, which mythologized its creation from the bones and hair of a pike by the hero Väinämöinen, embedding it in Finnish folklore as a tool for enchantment and storytelling.^[1] Traditionally, the five-string model was hollowed from a single solid piece of wood, such as birch, with gut or metal strings tuned diatonically or pentatonically to accompany runo songs, laments, and incantations in Karelian-Finnish oral culture.^[3] Over time, construction advanced to multi-piece board-built designs with added features like damping mechanisms and chromatic capabilities, allowing for broader musical applications from meditative improvisations to ensemble performances.^[1]^[2] In playing technique, the kantele is typically held on the lap or a table, with the right hand plucking strings in upward strokes to emphasize intervals like fourths and fifths, while the left hand dampens notes or alters pitches, enabling glissandos, harmonics, and rhythmic patterns suited to folk, classical, and contemporary genres.^[3]^[2] Culturally, it remains integral to Finnish intangible heritage, preserved through community building traditions, educational programs, and organizations like the Finnish Kantele Association, with vast archival collections such as the 33-volume Suomen Kansan Vanhat Runot documenting over 1,270,000 lines of poetry tied to its use by runo-singers and shamans.^[3]^[1] Today, the kantele continues to evolve, appearing in global music scenes while maintaining its role in rituals, festivals, and as a marker of national pride.^[2]

Overview

Description and classification

The kantele is a traditional plucked string instrument classified as a chordophone in the zither family, specifically a variant of the Baltic psaltery characterized by its flat soundboard and multiple strings stretched parallel across the instrument's body.^[2]^[4] It typically features 5 to 40 or more strings, with traditional small models having 5 to 15 strings tuned diatonically to a major or minor scale, while larger concert versions can have up to 39 strings in chromatic tuning to span several octaves.^[2]^[5] Sound is produced by plucking the strings with the fingers or a plectrum, causing them to vibrate and transmit energy to the underlying soundboard, which amplifies the oscillations through the resonant wooden body.^[2]^[7] Traditional models measure approximately 60-80 cm in length, while modern concert kanteles extend up to about 105 cm.^[8]^[9]^[10] The instrument's acoustic properties yield a bright, resonant tone with a shimmering, bell-like quality, arising from the nonlinear string vibrations and efficient body resonance that enhances harmonic content.^[4]^[7]^[2]

Cultural significance

The kantele has been recognized as Finland's national instrument since the 19th century, emerging as a potent symbol during the period of national awakening and romantic nationalism. Its elevation to this status was closely tied to the publication of the Kalevala, the Finnish national epic compiled by Elias Lönnrot, in which the mythical hero Väinämöinen fashions the first kantele from the jawbone of a pike and uses it to enchant nature and humanity, thereby embedding the instrument deeply in Finnish folklore and identity.^[11]^[12] This association extends to ancient shamanistic traditions among Finnic peoples, where the kantele served as a ritual tool for incantations, trance induction, and invoking spiritual power, reflecting its roots in Iron Age practices that paralleled those of the Saami.^[3]^[11] In Finnish and Karelian communities, the kantele plays a central role in preserving oral traditions through accompaniment of runo-songs—epic poems recited in a syllabic meter that narrate myths, histories, and daily life—facilitating storytelling sessions that strengthen cultural continuity. It also features in communal rituals, such as incantations for healing or protection, and festive gatherings like village dances and seasonal celebrations, where its resonant tones foster social bonds and collective memory.^[3]^[11] These practices highlight the instrument's function as a bridge between individual expression and group heritage, particularly in Karelia, where it underscores shared ethnic narratives across borders.^[3] The kantele's cultural prominence received formal acknowledgment through inclusion in Finland's National Inventory of Living Heritage, established by the Finnish Heritage Agency following the country's ratification of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage in 2013, recognizing the traditions of kantele playing and building as vital elements of national intangible heritage.^[13]^[14] This recognition underscores its enduring influence on national romanticism, where 19th-century artists and intellectuals drew upon the kantele to evoke Finnish essence amid Russification pressures, and its continued role in shaping modern Finnish identity after independence in 1917, symbolizing resilience and cultural autonomy in education, arts, and public life.^[11]^[15]

Construction and design

Traditional small kantele

The traditional small kantele features a simple, historical design typically consisting of five strings stretched over a body carved from a single block of wood, such as birch, alder, or spruce, forming an irregular triangular or D-shaped resonant chamber without frets. This construction method, dating back centuries, involves hollowing out the wood to create an integral soundboard and bridge from the same piece, allowing the instrument to produce a clear, resonant tone through the vibration of the thin top plate and enclosed air space. The absence of frets ensures a diatonic scale, emphasizing its role in folk traditions where precise intonation is achieved through just tuning rather than fixed positions.^[16]^[17] In terms of tuning, the five strings are usually set to a diatonic pentachord in a major key, such as D major (D-E-F♯-G-A), providing a bright, modal sound suited to traditional melodies; the lowest-pitched string (bass) is positioned farthest from the player in the conventional lap-held orientation, with the highest-pitched (shortest) string nearest for easy access by the plucking hand. The instrument measures approximately 60-70 cm in length, 10-15 cm in width, and 5-10 cm in depth, making it lightweight—often under 1 kg—and highly portable for playing on the lap or a small table during communal gatherings. This compact size facilitates intimate solo performance or accompaniment in folk settings, where the player supports the wide end on one knee and the narrow end (sometimes featuring a carved extension called a ponsi) on the other.^[16]^[17]^[18] Regional variations exist between Finnish and Karelian styles, particularly in construction and string attachment methods, reflecting shared Baltic-Finnic heritage with subtle local adaptations. Finnish examples often emphasize a uniform carving from birch for a smooth, enclosed chamber, while Karelian kanteles may incorporate brass or horsehair strings in earlier forms and attach them via simple hitches to a carved tailpiece or rod, allowing for brighter overtones and sympathetic resonances; some Karelian models from the 19th century feature slight asymmetries in the body shape or additional soundholes for enhanced projection in rural settings. These differences highlight the instrument's adaptability across borders, yet the core five-string, fretless design remains consistent as a symbol of cultural continuity.^[3]^[16]

Concert kantele

The concert kantele emerged in the 1920s as a larger, chromatically adaptable version of the traditional instrument, developed by Finnish musician Paul Salminen to facilitate its integration into classical and ensemble settings. Salminen, an Ingrian-born orchestra player who settled in Finland in 1919, patented a lever mechanism in 1927 that allowed for semitone adjustments, enabling the kantele to perform complex Western music beyond its folk roots. This innovation marked a shift toward professional performance, with production continuing through workshops like those of Sulo Huotari in the 1940s and later Erkki Leskelä from 1983, refining the design for greater dynamic range and tonal precision.^[19]^[20]^[21] Typically featuring 36 to 40 strings—most commonly 38 or 39—the concert kantele employs metal strings, often steel, to achieve louder projection suitable for concert halls and ensembles. Its chromatic tuning is achieved through a system of sharping levers, which raise the pitch of individual strings by a semitone, allowing full access to the twelve-tone scale without retuning the entire instrument. The body consists of a flat soundboard mounted on a separate, rigid frame, forming a trapezoidal zither-like structure that enhances resonance and sustain while maintaining portability relative to orchestral harps.^[22]^[23]^[19] Measuring approximately 1 meter in length, 45 cm in width, and 17 cm in height, with a weight around 8 kg, the concert kantele is too large for lap play and requires a stand or table for performance. Enhancements include selective dampers or manual muting techniques using the left hand to silence unwanted strings, preventing sympathetic resonance and enabling cleaner chord voicings. The instrument's range often spans about four octaves, such as from A1 to A5, with some models extending to five octaves or more, supporting intricate solo and accompaniment roles in modern repertoires.^[24]^[23]^[25]

Materials and manufacturing

The traditional kantele is primarily constructed from local Finnish woods, with the body often carved from a single piece of alder, spruce, birch, or pine to form the resonant chamber.^[11] Soundboards, when separate, are typically made from spruce or pine for optimal vibration transmission, leveraging the natural acoustic properties of these coniferous species abundant in Finland's forests.^[11] Historically, strings were made from steel or copper wire, though folklore accounts suggest earlier use of horsehair, with modern experiments confirming gut as a viable alternative that alters the instrument's tonal character.^[11] ^[26] Contemporary kanteles frequently employ nylon or metal strings for durability and ease of tuning, reflecting adaptations to professional performance demands.^[27] Manufacturing processes vary by model size and era, with small traditional kanteles hand-carved from a solid wood block using basic tools like axes, saws, knives, and chisels to hollow out the body and shape the sides.^[28] This labor-intensive method, which can take three to four days, preserves the instrument's archaic form and allows for intricate decorative carving on the exterior.^[28] In contrast, larger concert kanteles are assembled from multiple wood pieces, including glued sides, a separate soundboard, and a frame, often using bent or pressed wood for rounded ends to accommodate more strings and tuning mechanisms.^[11] Pioneering luthier Paul Salminen developed the modern concert kantele in the 1920s by incorporating tuning machines, influencing subsequent builders like Hannu Koistinen and workshops such as Erkki Leskelä's in Finland, which continue handcrafting instruments with refined assembly techniques. Modern innovations include electric kanteles, which incorporate piezoelectric pickups for amplification while retaining traditional wooden construction.^[29] ^[19]^[20] Sound optimization during construction focuses on the soundboard's thickness, typically 4 to 5 mm for pine or spruce to balance resonance and structural integrity without excessive damping.^[30] ^[31] The bridge, known as the ponsi, is strategically placed near the string attachment points to efficiently transmit vibrations to the soundboard, enhancing harmonic richness and projection; in modified designs, an air gap of 3 mm between plates further improves radiation efficiency.^[31] These elements ensure the kantele's characteristic bright, shimmering tone. Sustainability is integral to kantele luthiery, with reliance on locally sourced woods like birch and pine from Finland's managed forests minimizing environmental impact and supporting renewable material cycles.^[32] Contemporary builders emphasize eco-friendly practices, such as using certified sustainable timber and avoiding exotic imports, aligning the instrument's design with principles of longevity and cultural preservation.^[33] This approach not only reduces carbon footprints but also reinforces the kantele's role as a model of ecological craftsmanship in musical instrument making.^[32]

Playing techniques

Basic playing methods

The kantele is typically played in a seated position, with the instrument held horizontally on the player's lap in traditional folk style, where the lowest-pitched string is positioned farthest from the player and the highest-pitched (shortest) string is closest. In this orientation, the narrow end rests on the knee, allowing the left arm to support the wider end. For concert performances, the kantele is often placed on a table or stand for stability, facilitating easier access to a larger number of strings.^[34]^[3] Tuning the kantele involves adjusting the strings to a diatonic scale using a tuning key on the wooden pegs or by ear with a reference pitch, typically aiming for pure intervals like fifths and octaves to achieve harmonic resonance. For the traditional five-string model, a common tuning is D major (D-E-F♯-A-D from lowest to highest), which provides a pentachord suitable for folk melodies; the third string can be lowered a half-step to F for a minor mode. Multi-string versions, such as 10- to 15-string kanteles, follow diatonic scales across one or more octaves, with the lowest strings often serving as drones tuned an octave below the tonic.^[34]^[35] Basic plucking techniques emphasize finger dexterity, with the right hand primarily plucking the higher melody strings using the index and middle fingers or thumb for individual notes, while the left hand handles the lower bass or drone strings to provide rhythmic foundation or harmony. Players often use an interlocking pattern where both hands alternate rapidly, plucking upwards near the midpoint of the string length to enhance harmonics and sustain. A plectrum may substitute for fingers on the right hand to produce a brighter tone for melody lines.^[34]^[3]^[36] Strumming for accompaniment involves sweeping the right hand across multiple strings with a finger or plectrum to create rhythmic chords, while the left hand lightly covers unused strings to mute them and prevent unwanted resonance, a method known as the "covering technique." This approach suits dance music and simple harmonic support, allowing the player to alternate between strumming and plucking within the same piece.^[34] In the five-string setup, common scales revolve around the diatonic major or minor pentachord inherent to the tuning, enabling straightforward melody construction on the upper three strings. Simple chord voicings, such as the open-string D major triad (all strings sounded together), or partial voicings like the tonic (D-E-F♯) and dominant (A-D), provide harmonic depth without complex fingerings, emphasizing the instrument's role in drone-based folk accompaniment.^[34]^[37]

Advanced techniques and accessories

Advanced kanteliists cultivate finger independence to execute polyphonic passages, employing multiple fingers from both hands to interweave melody and harmony simultaneously. This technique relies on a relaxed hand posture with the wrist extended at approximately 15 degrees and tilted toward the little finger, forming uniform knuckle arches and curved fingers for precise string contact and muscular efficiency.^[38] Such control enables multipart textures, as demonstrated in ensemble arrangements where individual kanteles contribute distinct lines.^[39] On concert models, lever mechanisms facilitate rapid chromatic alterations, allowing players to sharpen or flatten strings mid-performance for complex runs and modulations. Each lever adjusts the pitch of corresponding strings across octaves—typically raising or lowering by a semitone via metal bars that shorten or lengthen the vibrating length—enabling full chromatic access from bass to treble registers without retuning.^[40]^[22] This system, distinct from individual string levers in related Baltic instruments, supports fluid shifts between diatonic modes and chromatic scales, essential for contemporary compositions.^[22] Accessories enhance expressiveness and practicality for professional use. Small plectra made of bone, wood, or metal provide sharper attacks for strumming or plucking, while damping techniques—using the forearm, fingers, or built-in damping boards—control resonance to isolate notes or chords and prevent unwanted overtones.^[39]^[1] Electric kanteles incorporate pickups compatible with guitar amplifiers and effects pedals, expanding tonal possibilities through distortion or reverb.^[41] Ornamentation exploits the kantele's resonant qualities, including trills achieved via rapid finger alternation on adjacent strings, harmonics produced by lightly touching a string at nodal points while plucking to evoke shimmering overtones, and glissandi executed through lever manipulations for subtle pitch slides.^[2]^[42] In ensemble settings, kanteliists synchronize with instruments like the accordion in folk bands, coordinating plucking rhythms and damping to blend harmonic layers and drive dance tempos.^[43]

History

Origins and legendary accounts

The origins of the kantele are deeply rooted in Finnish mythology, particularly as recounted in the national epic Kalevala, compiled by Elias Lönnrot in the 19th century from ancient oral traditions. In the epic, the demigod Väinämöinen, a wise sage and shamanic figure, creates the first kantele from the jawbone of a giant pike caught during a fishing expedition, using the fish's teeth as tuning pegs and the hairs of Hiisi's gelding for strings. This instrument's enchanting music is said to have brought harmony to nature, lulling animals, birds, and even inanimate objects into a trance-like state, symbolizing the power of music in ancient Finnic cosmology.^[44]^[11] Archaeological evidence for early psaltery-like instruments, precursors to the kantele within the Baltic psaltery family, dates to the 12th through 14th centuries, with fragments uncovered in sites across Poland, Novgorod (Russia), and the broader Baltic region, indicating widespread use among Finnic and related peoples. These finds suggest a proto-Finnic instrument tradition extending back approximately 2,000 years, likely emerging among ancient hunting and fishing communities in the region. The kantele is believed to have proto-Finnic roots as a shamanic tool, employed in rune singing—oral incantations—for inducing trance states, invoking spirits, healing ailments, and facilitating communication with the supernatural, akin to the ritual drums used by neighboring Saami peoples.^[11] Comparative mythology reveals parallels in neighboring traditions, where similar zither-like instruments hold mythic significance; for instance, the Estonian kannel shares structural and cultural ties as part of the Baltic psaltery family, with folklore echoing themes of divine craftsmanship, while the Lithuanian kanklės is legendarily crafted from wood cut during mourning to infuse it with emotional resonance for ritual music. The earliest written mentions of the kantele appear in 16th-century Swedish-Finnish records, documenting folk zithers played in rural communities, marking the transition from purely oral to documented history.^[11]

Evolution and modern revival

During the medieval period through the 18th century, the kantele remained a staple in rural Finnish folk traditions, primarily played in domestic and communal settings for accompaniment to songs and dances, despite the broader suppression of pagan elements associated with pre-Christian practices following the Christianization of Finland starting in the 12th century.^[11] The instrument's ties to ancient rituals, as later romanticized in folklore, contributed to its marginalization under ecclesiastical influence, confining its use largely to isolated agrarian communities.^[45] The 19th-century revival of the kantele was deeply intertwined with Finland's national romanticism movement, which sought to forge a distinct cultural identity amid Russian rule. Elias Lönnrot's compilation of the epic Kalevala in 1835 prominently featured the kantele as the instrument of the mythical hero Väinämöinen, elevating it to a symbol of Finnish heritage and sparking renewed interest in traditional music.^[1] This cultural resurgence paved the way for innovations, including the development of the first concert kantele models in the 1920s by Ingrian musician Paul Salminen, who introduced chromatic tuning mechanisms to adapt the instrument for larger audiences and classical performances.^[19] In the 20th century, the kantele saw standardization with the 5-string model established as the traditional rural form and the 38-string concert version becoming the norm for professional use, reflecting its adaptation to both folk and art music contexts.^[11] However, urbanization accelerated after World War II, leading to a decline in traditional playing as rural populations migrated to cities, diminishing community-based transmission.^[1] A post-war folk music boom, fueled by cultural preservation efforts, reversed this trend through initiatives like the Kaustinen Folk Music Festival founded in 1968, which promoted the instrument globally and integrated it into education programs starting in the 1970s.^[46] Into the 21st century, the kantele has experienced further revival with the emergence of electric models for amplified performances and compact concert variants suited to contemporary ensembles, expanding its reach beyond Finland via international festivals such as Kaustinen.^[36] In 2025, the Finnish Literature Society returned a historic kanklės to Lithuania, underscoring continued international collaboration in preserving Baltic psaltery traditions.^[47] Educational curricula in schools and conservatories have sustained this momentum, ensuring widespread accessibility and innovation while honoring its folk roots.^[1]

Music and repertoire

Traditional folk music

In traditional Finnish and Karelian folk music, the kantele served primarily as an accompaniment instrument for runo songs, which are ancient epic and lyric chants characterized by trochaic tetrameter, alliteration, and parallelism. These songs, often performed in a heterophonic style with solo or group singers alternating lines, were supported by the kantele's resonant tones to enhance rhythmic and melodic variations, typically in 4/4, 5/4, or 9/8 meters for specific occasions like weddings.^[48] The kantele's tunings in traditional folk contexts emphasized pentatonic scales, often limited to the first five notes for a narrow melodic range, alongside modal structures built on pure fourths, fifths, and octaves with tonics such as G4 or D4. These configurations facilitated improvisational melodies suited to the oral nature of runo traditions, where performers varied phrases on the spot to reflect regional dialects and emotional nuance. In Karelia and eastern Finland, the small five-string kantele was tuned diatonically or pentatonically to mirror the tonal polarity between tonic and dominant, enabling fluid accompaniment without fixed harmony.^[48]^[3] Performance contexts for the kantele centered on rural village gatherings, weddings, and epic recitations, particularly in Karelia where it accompanied ritual songs for bear hunts, annual festivals, and daily activities like herding or haymaking. At weddings, the instrument supported lyric and incantation songs expressing communal joy or solemnity, while epic recitations in Karelian villages used it to sustain long narrative chants during storytelling sessions. These settings preserved the kantele's role in both individual meditation and group heterophony, fostering cultural continuity in isolated eastern communities.^[48]^[3] Notable traditions distinguished eastern Finnish styles, where the small kantele was plucked for melodic runo accompaniment in Karelian and Savonian villages, from western Finnish practices emphasizing strumming for rhythmic dance support in more urbanized areas like Ostrobothnia. Eastern plucking techniques, influenced by Orthodox isolation, maintained ancient improvisational purity, while western strumming adapted to pelimanni ensemble dances, creating chordal backings for faster tempos. Key figures included 19th-century crofters like Kreeta Haapasalo (1813–1893), known as "Kantele-Kreeta," a self-taught player from eastern Finland who performed runo-accompanied songs at local gatherings, and rural musicians whose tunes were later documented in early 20th-century field recordings by ethnomusicologist Armas Otto Väisänen, capturing 134 tunes from 23 players in crofter communities.^[3]^[49]

Contemporary and global uses

In contemporary music, the kantele has transcended its traditional folk roots to feature prominently in diverse genres, including electro-folk, heavy metal, jazz, pop, ambient, experimental, and world fusion. Finnish artists like Maija Kauhanen blend modern beats with folklore elements in her one-woman performances, while her collaborations with rapper Paleface on tracks such as "Tietäjän tie" from the Kalevala project exemplify its integration into contemporary songwriting. Bands such as Okra Playground employ electric kanteles in electro-folk arrangements, touring internationally and reaching audiences through platforms like Spotify playlists curated by kantele specialists. Similarly, Vesala's trio, featuring kantele alongside drums and guitar on songs like "Tulkoon mitä vaan," has performed at major events such as the 2020 Kaustinen Folk Music Festival, highlighting the instrument's adaptability in ensemble settings.^[36]^[50] Heavy metal acts have also embraced the kantele for its evocative timbre; Amorphis incorporated it into their 1996 track "My Kantele," and Nightwish has used it in symphonic metal compositions to evoke Finnish heritage. In jazz and fusion contexts, Anna-Karin Korhonen's band Avertere combines kantele with improvisational elements, while ENKEL delivers folk-pop interpretations like "Lempi-ihmisille." The instrument's soft tone has been enhanced by modern amplification, allowing it to balance in larger ensembles and recordings, as seen in pop arrangements by Veila, the world's first co-play kantele band, which performs contemporary songs at events like the 2024 New European Bauhaus Festival. Additionally, the kantele appears in media soundtracks, such as Disney's Frozen 2, underscoring its global cultural resonance.^[36]^[51]^[52] Educationally, the kantele remains a staple in Finnish music curricula, taught from kindergartens to conservatories and the Sibelius Academy, where programs cover both classical and folk styles; Arja Kastinen became the first Finnish folk musician to earn a Doctor of Music degree in kantele improvisation in 2000.^[36]^[53] Internationally, adoption has grown, particularly in Japan, where the Japan Kantele Society, established over a decade ago, promotes performances, workshops, and compositions by artists like Hiroko Ara, fostering a local scene that reinterprets Finnish traditions through Japanese lenses. In Norway, Sinikka Langeland integrates kantele into jazz and world music, collaborating on albums that blend Nordic folk with improvisation.^[51]^[54] Global outreach efforts include the Kantele-GO! project (2019–2023), funded by the Karelia CBC Programme, which aimed to internationalize kantele music through Finnish-Russian collaborations, producing video content, tours, and masterclasses while developing a 2021–2030 promotion plan. The instrument features in international festivals like the Lotus World Music Festival, where groups such as Kardemimmit perform vocal-kantele ensembles drawing on 19th-century Finnish styles, and competitions like the 2022 International Kantele Competition for Ensembles in Tampere. These initiatives, alongside growing markets in the USA and Europe, have expanded the kantele's presence beyond Finland, with ensembles like the Karelian National Song and Dance Ensemble incorporating it in cross-border concerts.^[55]^[56]^[57]

References

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[32]
The Finnish Five-String Kantele: Sustainably Designed for Musical Joy
Nov 18, 2015 · This article discusses the five-string kantele as an example of the Finnish national heritage, a school instrument and an example of ...
[33]
https://www.researchgate.net/publication/271848509_The_Finnish_Five-String_Kantele_Sustainably_Designed_for_Musical_Joy
[34]
[PDF] Maintenance Instructions for Kantele with Wooden Tuning Pegs
Dec 5, 2019 · For example, 5-string kantele can be tuned from major to minor by lowering the 3. string half step (F#4 → F4). All strings can be tuned lower ...
[35]
The living tradition: Kantele in the 21st century - Music Finland
Feb 28, 2020 · Traditionally kantele has been played acoustically – but besides that it can also fit even in big festival and arena stages. Playing techniques ...
[36]
Saarijärven kantele ja 10–15-kieliset kanteleet saavat uudet soitto ...
Apr 26, 2024 · The guide introduces the basic playing techniques from chord playing to plucking, mixed style playing and joint melody and accompaniment playing ...Missing: methods | Show results with:methods
[37]
Kantele - harjoittelu - Uniarts Sites
Kantele players should first adjust the seat/table to a height where he or she can easily maintain the pelvic centre position and sit on top of the ischia.
[38]
[PDF] Finnish Kantele - ARC Music
... Sibelius Academy. MATTI KONTIO has been greatly responsible for popularising the kantele and he has developed new playing methods of the kantele. He also is.
[39]
Instruments | maijakauhanen
There are many types and sizes of kanteles from 5-string kanteles to the 39-string concert kantele and everything between. There are about 5000 kantele players ...
[40]
Electric Kanteles - Michael J King
The Electric Kantele has lots of potential, it's opens you up to using the entire world of guitar effects pedal and amplifiers to make some unique sounds.Missing: dampers | Show results with:dampers
[41]
[PDF] Ikisyyt - Jukka Tiensuu
Trills always continue till the end of the (tied-over) note. If a bow ... bar 247- Where the kantele producess the half-tone glissandi with the level ...
[42]
Anne-Mari Kivimäki Ensemble - Artists | Folk Extreme
Crackling archive recordings, accordion, kantele, double bass and vocals create a unique soundscape. In Kivimäki's music one can hear the roaring of Karelian ...
[43]
What happens in the Kalevala? - Kalevalaseura
Poems 40–41: The first kantele is made of pike bones and played by Väinämöinen. Poems 42–43: The Sampo is stolen. The struggle with the mistress of Pohjola ( ...
[44]
“Folklore and Nationalism in Modern Finland” | Open Indiana
... Finland in historical times under the influence of Christian beliefs newly arrived from the West. The pagan tone of the incantations had resuited simply ...
[45]
Road to Womex 2025: The History of Modern Finnish Folk Music
Sep 18, 2025 · The first Kaustinen Folk Music Festival was held in 1968. To this day, it has kept its status as the flagship of Finnish folk music festivals.
[46]
Rune-singing, the musical vernacular - FMQ
Rune-singing, “Kalevala language”, was the language of the epic, the lyric and magic, the language that dominated at weddings, bear-hunting an annual festivals.
[47]
The Music Of Finland: New Runes - World Music Network
Jul 16, 2012 · Finnish music includes runolaulu, rekilaulu, and pelimanni music. Key instruments are the kantele and jouhikko. Pelimanni music is folk dance ...Missing: Karelian humppa<|control11|><|separator|>
[48]
New directions with a firm basis in tradition - Finnish Music Quarterly
In Eastern Finland people have shown a preference for singing in the original, ancient style. For a long time in the east, pentatonic melodies and alliterative ...
[49]
Maija Kauhanen combines modern beats with folklore elements and ...
Maija Kauhanen is a Finnish one-woman band, singer, songwriter and player of kantele, the Finnish traditional chord instrument.Missing: contemporary | Show results with:contemporary
[50]
The Alluring Finnish Kantele | World Music Central
Nov 20, 2023 · Beyond being a musical instrument, it is intertwined with Finnish folklore and holds the status of a symbol of national identity. In fact, the ...<|separator|>
[51]
FMQ - The kantele - outside the box - Finnish Music Quarterly
It is often played with a stick, which brings an edge and rhythm to the music that cannot be achieved by picking with the fingers. This style of playing used to ...Missing: methods | Show results with:methods
[52]
https://www.fmq.fi/articles/the-kantele-8211-outside-the-box
[53]
Kantele Goes Global! Ground Zero (Kantele-GO!) - UEFConnect
Our project seeks to promote internationalization of kantele music and foster closer cooperation between Finnish and Russian kantele players.
[54]
INTERNATIONAL KANTELE COMPETITION FOR ENSEMBLES 2022
The international kantele competition for ensembles will be organized by the Kantele Association at the Tampere Conservatory of Music and the Pirkanmaa ...Missing: collaborations | Show results with:collaborations
[55]
Kardemimmit - Lotus Festival
The four women of Kardemimmit all sing and play the Finnish national instrument – the kantele. If you're new to the kantele, think zither or dulcimer: the ...Missing: international collaborations