Silence Ensemble

The multidisciplinary artistic research group is formed by dancer Kirsi Heimonen, visual artist Petri Kaverma and pianist Anu Lampela. Between the years 2016–2020 the group developed collaborative artistic research methods.

Read more:

Heimonen, Kirsi, Kaverma, Petri ja Vehviläinen, Anu. 2018. In Between Silences. Ruukku 8. Helsinki: Taideyliopisto.
https://www.researchcatalogue.net/view/340581/340582

Vehviläinen, Anu 2020. Kohti kehoa. Taiteellinen tutkimus soittamisen orientaatioista Karol Szymanowskin pianomusiikissa. Musiikki, 50(1–2), 157–189.
https://musiikki.journal.fi/article/view/95491

Open Artist & Dear Audience (2008–2015)

This project focused on the relationship between the artist and the audience. I organized different events, courses and research activity, and actually met different audiences and discussed with them. And of course, I invited artists to join my events to create fruitful discourse. During these years, I was able to see the art world also from the audiences’ perspective – an issue which should be dealt with in artists’ education. In art music, the audience is often treated as a faceless mass, not as individuals with different expectations and needs. Personally, these experiences also help me every time I climb on stage to perform. The many personal encounters with members of the audiences make the live performances a bit more human.

Containing several projects “the Open Artist & Dear Audience” program acted in the interface between the artist and the audience. The goal of this program was to open up and demystify the concept of ‘an artist’ as well as to map out new research topics in the area of interaction. From 2008 “Open Artist & Dear Audience” has widened the supply of the courses in the Sibelius- Academy. The program consisted of the following projects, events and courses: 

Let Go – Six Writings on Musicianship (2008) is a written work of my doctoral degree, which discusses a musician’s everyday experience, taboos, the concept of ‘an artist’ as well as the relationship between a performer and the musical work. The written work reflects especially philosopher Lydia Goehr’s thinking and contextualizes performer’s experiences with the art music world. The style of the written work is essayistic, courageous and personal. The text contains two parts: the first section consists of five essays based on a personal work diary. The second section is called “Conversations about being an artist”. In this chapter I use self-reflection, recorded conversations with colleagues along with research literature to discuss the concept of ‘an artist’. I ask, whether this ceremonial and cliché-like term is valid when describing a 21st century musician. I also discuss the 19th century concept of the Werktreue, which continuously has relevance in the praxis of the art music. In the end I discuss my own relationship with the work, the work concept and the Werktreue. 

The ’Artist at work’ course was founded on the philosophy of the written work “Let Go”. The course was aimed at master’s degree and doctoral students, and it discussed the topics and taboos that are often found “between the lines”. The course seeked the musicians’ tacit knowledge. Whereas the tradition of musical education focuses on the musical work and instrumentalism, the ‘Artist at work’ course offered possibilities to deal with silent and implicit knowledge as well.

The Perspectives on Artistic Research course focused on the [then] new and vague concept of ‘artistic research’, which was understood in many different ways in different contexts. The course featured lecturers from the Sibelius Academy as well as guest lecturers from the Theatre Academy, the Academy of Fine Arts and Aalto University. Doctoral students were offered a broad view over the field of artistic research.

Conversational piano concerts. The audience education provided by art institutions often focuses on a one-sided idea of interaction, where artists not only perform but also talk to the audience. It is recognized that performers possess knowledge which interests the audience, and therefore it is beneficial if performers can verbalize their ideas. I broaden this idea further: not only the performer, but the audience as well possesses knowledge about concert culture and the musical experience, and a performer, and the art music world in general, may benefit from this knowledge. In my conversational piano concerts, the borders of concert etiquette are delicately stretched. The form of a conversational concert is lighter than a traditional recital lecture: I welcome the members of the audience in the hall as they arrive, tell a bit about the music they are about to hear and play a 45–60-minute programme. After the performance, I encourage the audience to talk about their ideas about the music, concert culture, etc.

The ‘Play and interplay’ workshop was a series of 14 concerts and conversations. An audience group of 25 listeners met the performers after each concert in conversations I organized and moderated. In the ‘conversational piano concerts’ (see above), the possibility to discuss with one audience group was limited. In the ‘Play and Interplay’ workshop, the group of 25 people became a close-knit team, which experienced an interesting musical journey in the course of one semester. The 50 performers of the 14 concerts represented different musical genres from Western art music to jazz and folk music. The performers were willing to open up and share their thoughts on music-making and artisthood. The duration of the workshop (4 months) and the team spirit of the audience group allowed the participants to have discussions at a deep and detailed level. All conversations were documented, and the transcriptions were made available on the Sibelius Academy website.

The About the concert programme project discussed the limits of the concert programme (the brochure) in the Western art music tradition.  The project questioned the way artists approach their audiences. In Western art music, it is customary to thoroughly introduce the works and the composers in the concert programmes, whereas the perspective of a performer is usually not dealt with at all. It is also noticeable that the writing of the concert programme is not dealt with during musicians’ education. In this project, I wrote an experimental concert programme for the opera ‘One Night Stand’ by Olli Kortekangas and Michael Baran. Through interviews, I gave a voice to several participants of the production (composer, librettist-director, conductor, répétiteur, singers etc.) and illuminated the practical, everyday questions of opera making – not exclusively the so-called big themes. The opera singers rejected the traditional curriculum vitae form of the artist introductions with its list of merits, such as competitions and master classes. Instead, each of them wrote a commentary on the character they played in the opera.

Birth of a Concert was an educational and developmental project jointly created, designed and moderated by Pertti Haukola and me. A group of listeners observed artists prepare a concert in the course of half a year. The listeners came from the Open University, and the performers were doctoral students from the DocMus Doctoral School. After the project, the listeners wrote an essay, in which they reflected on the themes discussed during the course. The learning objective was to increase understanding about the way in which an artist prepares a concert. For the performers (doctoral students), the challenge was to reflect on and verbalize their own artistic processes, whereas the listeners learned to deepen their relationship with music. This kind of special learning environment, where an artist opens the door to their practising studio was exceptional in its time (2011–12).

An article on ’Birth of a Concert’. The article introduces the interactional course with the same title (see above), held at the Sibelius Academy in 2011–12. The article consists of five texts, written by the course moderators and the artistic doctoral students. In the first text, I deal with the overarching idea, structure and results of the course. The next four texts are written by Kirli Kozlovsky, Eeva Oksala and Maija Parko, who illuminate the perspectives of the doctoral students. The final text is written by Pertti Haukola. It deals with the methods used during the course and introduces ideas on how to develop the course further. The article is available in Finnish at: http://issuu.com/sibelius-akatemia/docs/trio_2_2012_web_20130121 

Is It Okay to Applaud Yet? – The approachability of the Art Music World from the audience’s perspective. This article is a part of my research on the artist-audience relationship. The research question focuses on the approachability of the art music world – that is, the music, the artists and the practices – from the audience’s perspective: How easy or difficult is it for a potential listener to approach our genre? The article utilises data from the “Birth of A Concert” course (see above). The listeners’ essays (the research data) discuss the topics presented during the course. The article aims to describe the verbal processes which build and create reality in people’s speech. The article is available in Finnish at: http://www5.siba.fi/documents/10157/726051/Trio_1_2013_fin_web.pdf/492ad40a-720d-4472- bdd8-51461ea8b5b9 

A concert lacks interaction is a popular article, which was published in the 9/2012 issue of the ’Rondo’ magazine. It discusses the art music concert etiquette, which still follows the traditions and practices created in the Romantic era. A traditional concert is a festive ritual, where the performer is put in the spotlight while the audience stays silently in the darkness. Is this formal and ritualistic etiquette needed? Are there any alternative possibilities to arrange a concert?

Dear Audience! panel discussion. This event was organized in the Camerata Hall of the Helsinki Music Centre in 2013. Five artists from five art genres (photographer Jan Kaila, pianist Kiril Kozlovsky, actress-director Tiina Lymi, dancer-choreographer Kirsi Monni and writer Anja Snellman) discussed artists’ relationship with the audience under my moderation. The discussion dealt with the topic which affects every artist but which at the same time lacks specific concepts. What is this relationship like? What phenomena are connected to it? Is it discussed at all in art education? The audience was able to take part in the discussion as well. The event began with a stage performance (conducted by me) where the audience was offered the opportunity to visit the stage – and cross the invisible line between the performer and the audience – while listening to live piano music on the very same stage.

Artist & Audience was a multi-disciplinary course at the University of the Arts Helsinki in 2013–14. The teachers were Professor Kirsi Monni (Theatre Academy), Professor Jan Kaila (The Academy of Fine Arts) and me. Representing three genres (music, dance and fine arts), the course asked: How does an artist experience the audience when performing or presenting an artwork? How does the audience affect an artist’s work? How do we understand the artist’s responsibility towards their audience? Are artists independent or are they rather regarded as servants to their audiences in today’s culture? How do we deal with the audience in our education? What are the differences between different art forms with regard to the artist’s relationship with the audience? The students took part in lectures, presentations and workshops during the course. The article is available in English at: http://issuu.com/sibelius-akatemia/docs/trio_1_2014_web 

Written expression + the relationship with the audience/society was a course I tailored for the master’s level students. The course focused on improving writing skills and oral expression. My research on the artists’ relationship with the outside world has demanded me to cultivate the artists’ reflection also in master’s degree education. The course encouraged the students to form opinions on their own education and on the art music culture in general. The students read and commented on art music literature, wrote texts and learned to give appropriate feedback to each other. At the end of the course, the students wrote an essay.

Master & Apprentice was a series of lectures focusing on the relationship between the teacher and the student organized by me at the Sibelius Academy in 2015. The five lecturers were Professor Sanna Vehviläinen, the piano pedagogue Katarina Nummi-Kuisma, the cellist and festival director Seppo Kimanen, the pianist-conductor Ralf Gothóni and me. The master–apprentice relationship of the Western art music culture is special: the education begins at the age of 5–7, so that a professional, master level musician will already have benefitted from several meaningful teacher–student relationships. Weekly lessons with one’s own teacher provide the essential context where the wide musical and instrumental knowledge is learned. The ‘Master & Apprentice’ series discussed the obvious as well as the tacit questions of the teacher–student relationship.

Between the Lines was a course designed by me with the professor of folk music Kristiina Ilmonen. It brought together the Western art music and the folk music traditions, developed the documentation of artistic processes and pointed out the tacit questions of artisthood. The essential learning environment was the peer group of doctoral students (tutored by the teachers), which enabled the addressing of the private and intimate topics of artistic work. The goal was to find general and mutual themes and discourses within the individual artistic projects.

* * *

CURRICULUM VITAE / ANU LAMPELA
5.9.2023

I GENERAL INFORMATION
Full name, date of birth and nationality, address etc.
Anu Katariina Lampela (née Vehviläinen), 3.4.1970, Finnish
Sotilastorpantie 4 A, 02680 Espoo, Finland / +358-40-7104288, +358-50-3540608
E-mail address: anu.lampela@uniarts.fi, anu@anulampela.fi
Webpage: www.anulampela.fi

Current position /previous positions
University lecturer at the DocMus Doctoral School of the Sibelius Academy, permanent post.
Professor of artistic doctoral studies, DocMus Doctoral School, Sibelius Academy, 1.8.2014–31.7.2015. Assistant Professor, DocMus Doctoral School, Sibelius Academy, 2009–2014.
Assistant, DocMus Doctoral School, Sibelius Academy, 2003–2008.
Teacher of piano, full time, Keskinen Uusimaa Music School, 1999–2003.
Teacher of piano, deputyship of lecturer, Music School of Raasepori, 1998–1999.
teacher of piano, private lessons, 1994–2004.

II EDUCATION
Completed degrees
DMus, Sibelius Academy, DocMus Doctoral School, Arts Study Program, 2008.
LMus, Sibelius Academy, DocMus Doctoral School, Arts Study Program, 2006.
MMus, Sibelius Academy, Music Performance: piano, 1998.

Other relevant knowledge (education, special skills etc.)
Leadership education, University of the Arts Helsinki. Spring 2020.
Adult education basic studies. Helsinki University. 25 ECTS credits. 2017–2018.
University pedagogy in arts: 2014–2017. 60 ECT credits.
University pedagogic supervising education 5 ECTS credits (University of Helsinki) 2013–2014.
Studies on social psychology at the Helsinki Open University, 11 ECTS credits 2012–2013.
Mindfulness basic education; Centre for Mindfulness Finland, tutor: Leena Pennanen. 2013–2014.

III ARTISTIC ACTIVITY
Expert in Karol Szymanowki’s solo piano music; recorded the whole solo piano output by Szymanowski. Performed the whole violin–piano output by Szymanowski with violinist Mieko Kanno. Solo piano concerts. Member of TampereRaw Chamber Ensemble 2004–2014.

Recordings
Karol Szymanowski: Piano Works vol 1 – vol 5, Anu Vehviläinen, Piano, 2010–2017.

Concerts, festivals (selection)
Solo piano performance. Järvenpää, 2023.
Lecture Recital, Sibelius Academy 2023.
Concert, Anu Lampela & Mieko Kanno. Kerava, 2022.
Towards the Limits. Duo concert. Mieko Kanno, vl & Anu Vehviläinen, pf. Kerava 2019.
Simple or Complex? Duo concert Mieko Kanno, vl & A. Vehviläinen, pf, Sibelius-Academy, Helsinki 2018.
Beneath the Surface. D-vitamin! concert series. Mieko Kanno, vl & Anu Vehviläinen, pf, Kerava, 2017.
Album release concert: Karol Szymanowski’s piano music. Steinway Piano Gallery, Helsinki 2017.

Festivals
(Kuhmo Chamber Music, Tampere Biennale, Time of Music Viitasaari, Korsholma, Hetta) 2002–2012. Solo piano tour in Poland (Krakow, Sopot, Szymanowski Festival of Zakopane), 2005.
Piano soloist with St. Michel Strings (Mikkelin kaupunginorkesteri), 2002.
Premiers: solo: Perttu Haapanen, Mikko Kervinen, Heinz-Juhani Hoffman; Chamber music: Paavo Korpijaakko.

Grants (selection)
Scholarships with the Silence Ensemble (Heimonen & Kaverma & Vehviläinen)
Centre for Artistic Research / Uniarts Helsinki: Short-term Academy Projects in AR 2018, 1.9.2018–31.8.2019 (12 months)
Finnish-Norwegian Culture Foundation, 1200 €, workshop in Norway, 2018.
CfAR, workshop in Norway, 800 €, 2018.

Personal scholarships
Finnish Cultural Foundation: completing the project of five Karol Szymanowski cd:s 7000 €, 2015. Arts Promotion Centre Finland: production of Karol Szymanowski cd:s 8000 €, 2013.
Jenny and Antti Wihuri Foundation: production of Karol Szymanowski cd:s 12 000 €, 2012.
Jenny and Antti Wihuri Foundation: production of Karol Szymanowski cd:s 10 000 €, 2007.

IV AUDIENCE RELATIONSHIP
Contact Persons
Contact Persons is an art forum founded by Finnish playwright and theatre director Pasi Lampela and pianist and researcher Anu Lampela. The forum organizes events where artists and people interested in arts can get together and discuss. The idea is to reflect the meaning of art in the current world and create networks between artists, academics and audiences. The events contain live music, speeches and discussion plus soup and drinks in an informal atmosphere. The forum organized 5 events in Finland in 2022 and 2 events in Baltic (Tallinn, Riga) in 2023.

Open Artist & Dear Audience
Containing several projects “the Open Artist & Dear Audience” program acted in the interface between the artist and the audience. The program opened up and demystified the concept of ‘an artist’ and mapped out new research topics in the area of interaction. This development program consisted of concerts, lectures, articles, courses, happenings and workshops. From 2008 “Open Artist & Dear Audience” has widened the supply of the courses in the Sibelius- Academy.

V RESEARCH ACTIVITY
Peer-reviewed books and articles
Rantanen, Saijaleena & Koivisto-Kaasik, Nuppu & Lampela, Anu (ed.) (in print). Women, Music, Research: Past and Present. [Naiset, musiikki, tutkimus: ennen ja nyt.] Helsinki: Sibelius Academy.

Lampela, Anu 2023. The unknown God and the Anguish of Piano Playing. An Autoethnographic Study of a Musician's Growth and Early Finnish Awakening Movement. [Tuntematon jumala ja pianonsoiton ahdistus. Autoetnografinen tutkimus varhaisherännäisyyden piirteistä ja muusikon kasvukertomuksesta.] ”Her Creative Process” . Pathways to Music History and Performance. Festschrift for Anne Kauppala. Johanna Talasniemi, Ulla-Britta Broman-Kananen, Nuppu Koivisto-Kaasik (ed.). Docmus Research Publications. Helsinki: University of the Arts, Helsinki. https://taju.uniarts.fi/bitstream/handle/10024/8027/e-pdf_Her%20Creative%20Process_Pathways%20to%20Music%20History%20and%20Performance.pdf?sequence=2&isAllowed=y

Lehtonen, Jussi & Vehviläinen, Anu 2021. Rakenteiden törmäys. Taiteellinen toimintatutkimus Teatterikorkeakoulun ja Sibelius-Akatemian yleisökontaktikurssista. Trio. Vo. 10 Nro 2 (2021). Helsinki: Taideyliopisto. https://doi.org/10.37453/trio.113280

Vehviläinen, Anu. 2020. Kohti kehoa. Taiteellinen tutkimus soittamisen orientaatiosta Karol Szymanowskin pianomusiikissa. [Towards the Body. Artistic Research on Orientation in Playing Karol
Szymanowski’s Piano Music.] Helsinki: Musiikki. https://musiikki.journal.fi/article/view/95491

Vehviläinen, Anu. 2019. Quest for a Breathing Performance. RUUKKU 11/2019. https://www.researchcatalogue.net/view/460869/460870

Heimonen, Kirsi & Kaverma, Petri & Vehviläinen, Anu. 2018. In Between Silences. RUUKKU 8/2018. https://www.researchcatalogue.net/view/340581/340582

Articles for general audiences
Vehviläinen, Anu. 2022. Opening words for the Siba Research Days.
https://blogit.uniarts.fi/en/post/docmus-doctoral-school-head-anu-vehvilainen-in-this-crazy-world-art-and-research-are-the-ultimate-superpowers/

Vehviläinen, Anu. 2015. Blog on artist’s relationship with the society. Sibelius Academy www site. http://www.uniarts.fi/blogit/klassinen-kriisiss%C3%A4/kuinka-muusikko-yhteiskunnallistuu

Vehviläinen, Anu. 2015. The Unconcious in an artistic process. [Tiedostamaton taiteellisessa prosessissa]. Ruukku. http://ruukku-journal.fi/viewpoints/-/blogs/3076313

Vehviläinen, Anu. 2014. Artist & Audience. Trio. Vol 1/2014. Sibelius Academy.
https://issuu.com/sibelius-akatemia/docs/trio_1_2014_web

Vehviläinen, Anu. 2013. Is It Okay to Applaud Yet? Discourse analytic study on approachability of the art music. [Saako jo taputtaa? Diskurssianalyyttinen tutkimus taidemusiikin lähestyttävyydestä.] Trio. Vol 2, Nr. 1 / 2013. Sibelius Academy. https://issuu.com/sibelius-akatemia/docs/trio_1_2013_fin_web

Anu Vehviläinen, Pertti Haukola, Kiril Kozlovsky, Eeva Oksala, Maija Parko. 2012. Birth of a Concert. [Musiikkiesityksen synty]. Trio. Vol 1, Nr. 2 / 2012. Helsinki: Sibelius- Akatemia.
http://issuu.com/sibelius-akatemia/docs/trio_2_2012_web_20130121

Papers in conferences and seminars
Contact Persons, Tallinn, Riga 2023
Lecture, Riga 2022.
Lecture, Turku University of Applied Science.
Paper in Music, Research and Activism conference, Helsinki 2023.
The seminar at the Academy of Fine Arts 14.2.2019 for doctoral students from the Academy of Fine Arts and the Theatre Academy.
TUTKE seminar at the Theatre Academy 14.3.2019 About the Collaboration in Artistic Research. Postdoc seminar at the Performing Arts Research.
Workshop for dancers and choreographers (Master’s level, Academy of Dance, Oslo) in Bergen Dansesenter Regionalt kompetansesenter for dans / 23.-24.10. 2018.
Post doc events at the Academy of Fine Arts and the Theatre Academy 2018–2019
Finnish Musicological Society symposium, paper, Jyväskylä 2017
The Swedish Research Council symposium on artistic research on 28–29 November; Presentation with In Between Silences –ensemble, Stockholm, 2017
Artistic Research Forum, Presentation with the Silence Ensemble, Stavanger, Norway, 2016
Arts Equal conference, Presentation with the Silence Ensemble, Helsinki, 2016
“Creating Spaces in Practicing An Autoethnographical Study on a Pianist’s Mental Space”. Paper. Doctors in Performance, Dublin, 2016.
“The Introvert Virtuosity in Karol Szymanowski’s Music”. Paper. Virtuosity – An interdisciplinary symposium. Liszt Academy, Budapest, 2016.
Karol Szymanowski and the Multi-layered Sonority. Recital. Doctors in Performance, Helsinki, 2014.
Open Artist & Dear Audience. Paper in ”Yleisötyön ytimessä” (On audience education) seminar, Sibelius Academy. 2014.
Paper on Artist’s relationship with the audience. National Orchestra Days, (Orkesteripäivät) Seinäjoki, Finland, 2014.
Paper in the ”Impulse” concept with Pertti Haukola. ”Arvokas Työelämä” seminar, Helsinki Music Centre, 2013. Musician’s emotions. Seminar by “brainWAWE” (aivoAALTO). ”Brain – Music – Emotions”, Helsinki Music Centre, 2013.
Is it Okay to Applaud Yet? Paper. CARPA conference. Theatre Academy, 2013.
Performer’s talk on audience. Finnish Music Research Symposium, Jyväskylä, 2012. https://jyx.jyu.fi/dspace/bitstream/handle/123456789/37624/vehvilainen_S2012.pdf?sequence=1
Music and the society. Paper. Social impact of music research seminar. Sibelius Academy, 2011.

Editor, peer reviewer
Rantanen, Saijaleena & Koivisto-Kaasik, Nuppu & Lampela, Anu. Naiset, musiikki, tutkimus: ennen ja nyt. (In print.)
Editor for 2 journal issues on the area of music (Ruukku).
Peer-reviewer in five journals
Member of the editorial board of RUUKKU journal on artistic research 2017 onwards.

Research group / Artistic research
Silence Ensemble – an interdisciplinary artistic research group (2015 onwards)
Silence Ensemble (dancer Kirsi Heimonen, visual artist Petri Kaverma and pianisti Anu Vehviläinen) is a multidisciplinary artistic research group that has worked together since December 2015. Starting from the beginning, the study of silences in the field of art has provided a common ground for all three art forms and has given way to experimental and cross-border cooperation. In this project, the very praxis – of movement, visual arts and music – has been at the centre since the beginning. In doing so, the artist-researchers have found a fresh perspective on the practices of their own art genres and, on the other hand, they have encouraged each other to find new ways of making art. The process has taken the artist-researchers to face the unknown, and the questioning of profit responsibility and the predetermined objectives as a basis for its foundation became a key issue. During the 5-year time the group has developed a new praxis-based artistic research method. The exploration has happened mainly in interdisciplinary sessions (2016) and walks (2018–2019) as well as during a week-long retreat in Kuressaare, where Heimonen and Vehviläinen focused on breathing exercises.

International academic and assessing duties
Doctors in Performance Festival Conference (DIP)
I am the founder and the chair of the steering group of the Doctors in Performance Festival Conference (DIP). The DIP partners: Royal Irish Academy of Music, Dublin, Lithuanian Academy of Music and Theatre, Vilnius, Royal Academy of Music, London, Estonian Academy of Music and Theatre, Tallinn. Former and future events: DIP Helsinki 2014, DIP Dublin 2016, DIP Vilnius 2018, DIP Tallinn 2020, DIP London 2022.

Examination of a doctoral degree, Royal Academy of Music, London 2023.
Assessor of doctoral candidates in Latvian Academy of Music 2022, 2023
Member of the Estonian Quality Agency for Higher and Vocational Education (EKKA)
Head of the international committee and the founder of the Doctor in Performance (DIP) festival conference (SibA + RIAM Dublin + Art Academy, Vilnius + Royal Academy of Music, London)
Tutor in Summer Academy for Artistic Research (SAAR)
Member of the RAM–DocMus collaboration; the Royal Academy of Music and DocMus Doctoral School (Siba)
Supervisor in Summer Academy for Artistic Research (SAAR) 2014–2016.

Scholarly/academic societies in Finland
Member of the ethical board of the University of the Arts Helsinki, 2017–.
Member of the Doctoral education and research chapter 2013–2015.
Deputy member of the Academic council, 2015–.
Member of the recruitment group for the post of professor of piano, 2014.
Member of work groups in Development of university quality, 2011–2015.
Member of the organizing group of the promotion ceremony of the Sibelius Academy, 2012.
Organiser in postdoctoral networks within the DocMus Doctoral School 2009–.

VI EDUCATIONAL MERITS
Doctoral level
Supervisor for 5 doctoral degrees.
Academic supervision of 16 doctoral students.
Artistic board chair/member for 15 doctoral students.

Supervision at the Bachelor’s and Master’s degree levels
Teaching piano at the Sibelius Academy, 2009–.
Teaching writing to Bachelor’s and Master’s degree levels, Sibelius Academy.

Teaching piano at the Sibelius Academy, 2009–.
Teacher of piano, full time, Keskinen Uusimaa Music School, 1999–2003.
Teacher of piano, deputyship of lecturer, Music School of Raasepori, 1998–1999.
Piano pedagogy I, II, III, Master degree. Between 1989–1998.
Konstantin Bogino’s assistant for one student, privately, Paris, 1996–1998. 

Teacher in the following courses and seminars at the doctoral level:
Method Box; Doctoral Studies as a Project; Preliminary Course for Supernumerary Doctoral Students; Artistic seminar for artistic doctoral students; Artist at Work/ 21st Century Artist; Perspectives on Artistic Research (guest lecturers from Theatre academy, Academy of Fine Arts, Aalto University); Play and Interplay – workshop for artists and audience; Birth of a Concert – course for artists and audience; Artist & Audience (guest lecturers from the Theatre academy and the Academy of Fine Arts); Written expression with the audience/society perspective – course for master students; Master & Apprentice series of lectures; Between the Lines.