Annual Report 2011

Annual Review 2011

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PUBLISHER: Sibelius AcademyEDITORS: Karoliina Pirkkanen, Kaisa Raitio and Juha Sjöblom

TRANSLATION: Elävä Kieli - Vivid WordsLAYOUT AND DESIGN: Tiina Laino

PHOTOS: Wilma Hurskainen, Heikki Tuuli (cover photo), Erkka Malkavaara (p. 7 opera photos)

PRINTED BY: Markprint, Lahti 2012

ISSN 1797-4763 (print)ISSN 1797-4771 (electronic version)

The Annual review can be ordered from the Sibelius Academy communication services,

tel. +358 40 710 4319, [email protected]

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Contents4 In the midst of changes, looking towards the future

6 Curtains up on new stages at Helsinki Music Centre

10 The library move led to euphoria

13 Structural reforms to ensure smooth daily operations

14 We are all artists! University of arts brings different disciplines together

16 Arts university venture – timeline in 2011

17 Redesigned communication reflects the changes

18 Key figures – students and completed degrees

19 Key figures – personnel, finances and concerts

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THE YEAR 2011 was characterised by three major milestones for Si-belius Academy. The new organisational structure was adopted in 2011. We celebrated the opening of the Helsinki Music Centre, and on 15 November, the foundation agreement for the University of the Arts Helsinki was signed. All these brought changes and new challenges for both staff and students throughout the year. They also gave us the coordinates for our path in the coming years.

By autumn, changes in our facilities - the closure of Pitäjänmäki and the move to the Music Centre - had made an impact on the day-to-day lives of everyone at the academy. When the Music Cen-tre opened to the public, a dream of many years for Sibelius Acad-emy came to fruition. The planning and construction process was a long effort, and the results exceeded everyone's expectations. Concert audiences discovered the myriad forms of the academy's artistic activity in an unprecedented way, as was evident in sold-out events and boosted ticket revenues. Sibelius Academy estab-lished its position as one of the main operators of the Helsinki Mu-sic Centre, and co-activities with the other resident organisations increased and diversifi ed by having everyone under one roof. The organisational reform transformed eleven separate departments into an arts university comprised of two faculties. The change was essential as we approach the transition to University of the Arts Helsinki. The organisational reform and the co-activities with the other organisations operating at the Helsinki Music Centre pro-vided a glimpse of the opportunities the new arts university will bring.

The exceedingly successful Satakieli fundraising project, which was closely linked to the university reform, sent a clear message: Sibelius Academy has a solid standing in Finnish society. The total amount raised during the project was over €2,000,000. The result is owed to the academy's own people as well as external support-ers. Increased international activities in arts, research and educa-tion indicate that we also have a strong position globally.

The pace is not about to slow down, but the changes in 2011 have given Sibelius Academy a clear path towards the future.

Gustav Djupsjöbacka

In the midst of changes, looking towards the future

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“When the Music Centre opened to the public, a dream of many years for Sibelius Academy came to fruition.”

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Curtains up on new stages at Helsinki Music Centre

As a result of the move to the Helsinki Music Centre, the academy’s artistic activities are now centred in the brand- new concert halls, and the new cradle of music has proved highly popular among the general public, as seen in ticket revenues and sold-out concerts. Our concert audience numbers multiplied during the 2011 autumn season. The Sonore Hall inspired the academy to rethink its opera edu-cation. New ways of producing operas, and even composing them, were discovered in the process.

"The Music Centre has created vast possibilities for the artistic activities of Sibelius Academy. It is now up to us to establish what kind of relationship we want to have with the concert audience," says Professor Markus Lehtinen.

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CONCERT ACTIVITIES OF SIBELIUS ACADEMY

• The official concert programme of spring 2011 featured 80 concerts. After the opening of the Music Centre, the 2011 autumn programme in-cluded 198 concerts.

• Sibelius Academy is one of the main concert organisers in Finland. The academy produces some 400 concerts and events each year, 200 of which are commercial. From the point of view of the academy students, public concert activities have an important educational role. For teachers, it offers opportunities to develop and maintain their professional skills as musicians.

• The majority of Sibelius Academy’s public concert activities moved to the Helsinki Music Centre in the autumn 2011.

Education model for opera - Unique in international comparison

The move to the new premises gave a kick-start to the renewal of the opera degree programme at Sibelius Academy. The English-language Master's level opera programme, which lasts two and a half years, received eight new students in autumn 2011. The students will be working in a completely new way. Designed with the new premises in mind, the new model is unique worldwide due to the fact that students will know from the start which opera productions they will be involved in during their studies. The everyday activities of the degree programme are centred on biannual opera productions, incorporating a selection of courses to support each production: for example, when stu-dents are working on one of Rossini's operas, they will study the Italian language and the history of Italian opera. This way, the courses comple-ment each other, and both teachers and students have greater certainty about the future. This systematic approach is also important for our in-ternational presence.

"Among other benefits, student exchange with in-ternational partners will be easier, as we'll know the opera programmes and cast requirements well in ad-vance. Building partnership networks is the next step in making our educational programme truly inter-national. This model has already attracted attention abroad. Now we must have the courage and self-con-fidence to open those doors. I believe that the interna-tional dimension can continue to be a major part of our activities at the Helsinki Music Centre. It is also ap-pealing to singers as a learning environment," Lehtinen explains.

Approachable opera at an approachable music centre

In the autumn of 2011, vocal students at Sibelius Acad-emy had the honour of performing the first ever op-era production at the Helsinki Music Centre, the "One Night Stand", commissioned from Olli Kortekangas. By commissioning a new home-grown composition, the idea was to show that opera as an art form can be closely connected to the present day and rooted in the themes of our time. True to this idea, the theme of the opera came straight from modern life: one night in a

metropolitan city in 2011. The virtually sold-out performances were proof that an approachable opera, which speaks to the people of today, can engage au-diences. The opera also supported the mission of the Helsinki Music Centre: to bring music close to the lives of all.

"For me, One Night Stand was ex-actly the right choice for the first op-era production at the Helsinki Music Centre. It not only created new ways of

meeting the audience, but also a new way to compose and create opera: the composer met the cast a whole year in advance, and the singers were able to put their requests forward during the composition process. Au-diences are perhaps more open to a home-grown opera than, say, Mozart or Verdi, and I hope that the feel of a premiere can be maintained in all our performances," Lehtinen muses.

• A bold step was taken to set a target for ticket sales after the move: the estimate was €200,000 for the year, and the first autumn season alone yielded €159,300.

• Some 40,000 people visit the academy’s public concerts and events each year. During the first autumn season at the Music Centre, events organ-ised by Sibelius Academy attracted about 22,000 visitors. In addition, Sibelius Academy organises concerts outside its own premises. These events are accessed by approximately 7,000 people.

• In 2011, a new visual identity was created for the academy’s artistic activities, see page 17

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Students will know from the start which opera productions they will be involved in during their studies.

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The One Night Stand opera by Olli Korte-kangas was commissioned for the inaugural autumn season of the Helsinki Music Centre. Photos: Erkka Malkavaara.

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The library move led to euphoria

THE OPENING OF THE HELSINKI MUSIC CENTRE and the move to the new premises featured prominently in the academy's day-to-day activities in the first half of 2011. The move of the library was one of the major efforts undertaken in the spring. According to Erkki Nurmi and Jari Klemetti, careful planning was critical to mak-ing this major upheaval successful.

Moving on the mind

The preparations started eighteen months before the move. Inventories were taken, shelf metres were counted, and new furniture and shelves were designed.

"Although we thought we had counted everything correctly, we still had to redo the calculations many times," says Erk-ki Nurmi.

The last six months before the move were hectic, and the prepara-tions featured prominently in the day-to-day affairs at the library.

"Customer service carried on as normal, but our minds were on the move. By the end of the design pro-cess, we knew the architect's phone number by heart," Nurmi reveals.

The approaching move was not apparent to the li-brary's customers until one week before it started, although they had been informed at the beginning of the year. Customers were encouraged to take out as many items on loan as possible before the move, to en-sure that they would have all the material they needed while the library was closed.

"The old library was very busy on its last day, and practically all our staff were serving customers. We were excited to see who would have the honour of lending the last book before the move," Jari Klemetti reminisces.

Move helped by good team spirit

The move took two intensive weeks. Although people were often working round the clock, they managed to stay in high spirits.

"We experienced intense moving euphoria. Spirits

remained high, although the mood approached hyste-ria at times," Erkki Nurmi smiles.

"The good spirit came from great teamwork. Many people even enjoyed the move, as it was so different from normal work at the library," says Jari Klemetti.

According to Nurmi, the move took a total of twenty lorry loads: two thousand boxes and a couple of hun-dred roll cages.

"At one point, we ran out of boxes and had to wait until some were unpacked, and then the elastic bands used in the roll cages were sold out in all Helsinki."

Although the situation was hectic and evolved all the time, the earlier plans made the move easier. The library was closed from the first of May until the begin-

ning of September, although the new fa-cilities were ready before the expected date.

"We thought we would need the whole summer, but everything was ready earlier than we had thought. We could have opened the library before the agreed date," Nurmi says.

Modern facilities draw visitors

The new library facilities at the Helsinki Music Centre are more practical and modern than the old premises. The move also meant new opening hours which facilitate a more flexible service, with different working hours and duties for the staff.

Customer feedback has been positive. The modern, centrally located facility brings the library closer to the customers. Although leaving the old premises was emotional, the library staff is not missing them. How-ever, some things can't be replaced.

"The one thing I do miss from the old library is the view of Töölö Bay," Jari Klemetti admits.

All in all, the two coordinators agree that the move was a positive experience. Being involved in such a major move is a rare event in a person's career - or life in general.

"I'll remember it as a great experience. I could do the move all over again," Klemetti laughs.

“The planning stage was challenging, but the move itself was fun," Erkki Nurmi summarises.

"The good spirit came from great teamwork. Many people even enjoyed the move, as it was so different from normal work at the library."

SIBELIUS ACADEMY LIBRARY

• The task of Sibelius Academy Library is to source and provide materials needed for studies, teaching, artistic activity and research at the academy. In addition, the library provides training in the use and searching of materials. The library is open to all.

• The library sources include printed and electronic materials: sheet music, composer collections, books, audiovisual materials, magazines, journals and data-bases.

• The collection includes 75,000 items of sheet music; 40,000 audio record-ings; 19,000 books; 1,100 video record-ings, and an extensive range of periodic publications, composer collections and anthologies.

FUTURE PLANS FOR THE PREMISES

• The opening of the Helsinki Music Centre in autumn 2011 signalled the end of the fi rst phase in Sibelius Academy’s facili-ties strategy. The facilities strategy is a combination of measures which will lead to having all the activities of Sibelius Academy centralised in the Töölö district.

• The second phase of the strategy in-volves the refurbishment of the Nervan-derinkatu 13 property in 2013–2014. The facility will be ready for use in the autumn 2014.

• The R Building (Pohjoinen Rautatiekatu 9) will be leased to Parliament from sum-mer 2014 onwards. The building will be refurbished in the last phase of the strat-egy in 2017, after the end of the lease agreement with Parliament. The R Build-ing will be recommissioned after the refurbishment in 2018 to coincide with the closure of the T Building (Töölönkatu 28) as an academy facility.

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Customer facilities at the library have proven popular

Erkki Nurmi in the library's audio room

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Structural reforms to ensure smooth daily operations

THE PREVIOUS ELEVEN DEPARTMENTS OF SIBELIUS ACADEMY were restructured in August 2011 to form just two faculties. The Faculty of Classical Music and the Faculty of Music Educa-tion, Jazz and Folk Music are steered by two deans. Both agree that the reform has facili-tated better internal co-activities in education.

“The reform was our important fi rst step on the road towards smoother daily opera-tions and an even higher standard of education. For example, at the Faculty of Classical Music, we have been reviewing the timetables of artistic activities and group lessons. Stu-dents' lives are made easier by the fact that the reform enables us to considerably reduce overlapping course schedules starting next year. Nevertheless, we should remember that it will take time before we fi nd the best way to do things using this new model. In addition, the learning cycle of music students is long, and I believe that the effects of this reform won't be seen properly until a couple of years down the line," says Dean Kaarlo Hildén from the Faculty of Classical Music.

The departmental reform provided functional tools for teachers and students, includ-ing practical guidelines for lecturers and an orientation checklist for new teachers. Previ-ously, different departments had different teaching arrangements. In 2011, they all came together to fi nd a new form of cooperation by conducting dialogue across disciplinary boundaries.

– “In my faculty, we've had our fi rst joint discussions about the way educational guid-ance used to be organised. The change is not complete; we are still working our way through the redesign process. The leadership approach is based on using each other as sounding boards for ideas, working and debating together.”

– ”We must continue supporting the different identities of different disciplines, their cultures and strengths," says Dean Elina Laakso from the Faculty of Music Education, Jazz and Folk Music.

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In November 2011, after a number of stages, a decision was made on the merger of the Sibelius Academy, the Finnish Academy of Fine Arts, and the Theatre Acad-emy Helsinki, which will come into force at the beginning of 2013. Sibelius Academy student Niilo Tarnanen and lecturer Riitta Tikkanen discuss the stages of the arts university project.

Cooperation in the spirit of trust

Niilo Tarnanen explains how stu-dents' views on the arts university have changed during the year.

"Initially, the venture seemed dis-tant. Previously, there had been more fears and a lack of information, as discussions lacked tangibility. As the year progressed, the mood became more hopeful and positive, although there were still as many opinions as there were students."

Riitta Tikkanen, who has worked at Sibelius Acad-emy for over 20 years, already had experience working

We are all artists!University of the arts brings different disciplines together

in close cooperation with the Theatre Academy and the University of Art and Design Helsinki. Despite the many phases of the venture, she has always been a firm

believer in the merger."We believe that the merger will

create good synergy. I have a posi-tive view on the venture. Through-out the process, I have believed that the arts university will become a reality. This is about the spirit of the times. The resources must be in place in order for the venture to provide genuine added value."

Throughout the year, the Sibe-lius Academy student union had

many discussions on how the venture should be ap-proached.

"The arts university must be an enabling ven-ture. By the end of the year, the student unions had reached a place of trust. Everyone feels that they are part of the same group - we are all artists," Tarnanen summarises.

“This is a major signal that we are promoting arts and culture at a time when all other areas must tighten their belt.”

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"The trust comes from knowing people from the other universities. I also trust the people who are steering the project. I believe they will make the right decisions. We are approaching the joint venture slow-ly, one step at a time," says Tikkanen.

Promoting the arts and culture

The tight schedule of the merger was one of the issues perceived as a threat by the students.

"It takes time to understand the situation. The pro-cess can generate new ideas and cooperation. It is easy to start worrying about what can be done on such a tight schedule, but not everything has to be ready by 2013," Niilo Tarnanen points out.

According to Riitta Tikkanen, the arts university will reinforce the position of arts and culture in society as a whole.

"This is a major signal that we are promoting arts and culture at a time when all other areas must tighten their belt. Modern society is driven by material values. However, people - especially young people - are hun-gry for culture, and this hunger should be nurtured."

Tarnanen points out that trust and the need for an arts university must be expressed through actions.

"Resources must be justified: we must also demon-strate the importance of the arts in society. For exam-

ple, art can highlight issues which could otherwise go unnoticed."

Moving boldly towards inter-disciplinary encounters

Both recognise the importance of an interdisciplinary approach and encounters between different art forms.

"That's the core idea of the arts university; that is why we are doing this. Encounters between art forms can create something new. Arts universities need new stimuli in order to avoid becoming stale," Riitta Tik-kanen notes.

"I think musicians have a lot in common with other artists, such as sculptors. The similarities are not in the day-to-day work, but at a more abstract level," says Niilo Tarnanen.

"Having an encounter with something different can be intriguing in terms of one's own thought process. I am particularly interested in the philosophy of art and how other disciplines see and process reality. Explor-ing these areas can help us learn a lot about what it means to be an artist," Tarnanen concludes.

The experienced lecturer hopes that everyone will approach these encounters with an open mind.

– “I hope we can be curious and open to our encoun-ters. Who knows what doors can open through them."

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Arts university venture – timeline in 2011

UNIVERSITY OF THE ARTS HELSINKI

• The University of the Arts Helsinki will be launched at the beginning of 2013 as a merger of the Finnish Academy of Fine Arts, the Sibelius Academy, and the Theatre Academy Helsinki.

• The new free arts university will promote arts education, and the status and autonomy of the arts in society, nurturing arts and culture in the whole of Finland: the university will comprise three academies which are equal in terms of educational content and cultural significance.

• The current staff and students of the existing academies will be transferred to the University of the Arts when it opens. The total number of students will be approximately 2,000, and the number of man-years is 600.

ARTS UNIVERSITY VENTURE - TIMELINE IN 2011

12.1. The Ministry of Education and Culture working group on the university of arts submits its report

10.3. The Board of Sibelius Academy approves a statement on the working group memorandum. Sibelius Academy supports the launch of the drafting of the university project.

4.4. The summary of comments on the proposal on the university of arts is published.17.6. A consensus is reached in negotiations on the new government programme.

The government programme states: “The creation of a university of arts is to be promoted.”

20.6. The academies meet at the ministry and agree on a project plan to be drawn up by the end of August on the founding of the university, including the objectives and project structure, steering groups, management groups and leadership systems.

27.6. According to the new Minister of Education and Science Jukka Gustafsson, there are no funds for founding the university of arts during the current term of government.

30.6. Minister of Education and Science Jukka Gustafsson states that funding can be considered in two years’ time. If the economic situation improves by then, the project can be given the go-ahead.

16.9. Based on a discussion held at the ministry, the boards of the academies should each make a decision on the founding of the university by the end of October.

15.11. The Academy of Fine Arts, the Sibelius Academy and the Theatre Academy sign the agreement on the mutual terms and conditions for founding the university on 1 January 2013.

22.11. Seppo Määttä is appointed project leader for the university of arts project.9.12. A competition is launched to find a new name for the university of arts.

Kuva: iS

tockphoto

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SIBELIUS ACADEMY WAS GIVEN a new eye-catching visu-al identity in 2011. The changes are practical but also symbolic: they refl ect the changes and the transition to a new era. The redesign mostly involved the website, and the visual identities of the university and its con-cert activities.

Completely redesigned website

The website was given a complete overhaul: the struc-tures, contents and design are all new. The redesign will provide a better, more versatile service to the main user groups.

The new website is aimed at promoting the Acad-emy's high-standard concert and event productions and educational offering in an attractive and easy-to-use format. In terms of functionality, the most impor-tant and visible new feature is the new events calendar, which makes it easier to search and book tickets for concerts and events.

Visual identity based on musical imagery

The new visual look of Sibelius Academy still has some familiar elements, though the majority of the visual cues are completely new. The swan symbol and the main navy blue colour are still there as strong symbols. Virtually everything else has changed: typography, col-ours, forms and other print products.

At the heart of the new visual identity is musical im-agery which can be used to illustrate various commu-nication materials. A computer programme designed for this purpose visualises the music in a way similar to that of a sequencer. Notes form colourful horizontal bars. The colours are formed based on the tone, and the colour palette consists of the academy's new col-our range.

Redesigned commu-nication refl ects the changes

User-friendliness and ease in the new visual identity of concerts

The new visual identity of the academy’s concert ac-tivities was launched in May 2011 to coincide with the publication of the autumn programme. The identity includes new imagery and colour codes for different musical genres. The seven colour codes depict the six genres and the cross-genre category. The colours are included in all communications about concert activi-ties, from the website to posters, advertisements and concert programmes. They are designed to help users fi nd and choose concerts more easily than before.

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Key figures – students and completed degrees

Number ofstudents

2005 2006 2007 2008 2009 2010 2011Bachelor’s/Master's 1421 1420 1399 1298 1214 1254 1270

Graduate students 143 140 136 156 157 151 141

Youth education 77 82 80 82 80 82 84

Number of overseas students

2005 2006 2007 2008 2009 2010 2011Bachelor’s/Master’s 131 135 143 134 131 133 134

Graduate students 14 16 18 20 23 24 23

Graduate students

0

200

400

600

800

1000

1200

2005 2006 2007 2008 2009 2010 2011

Applicants New students

Applicants and new students, Bachelor's and Master’s programmes

0

20

40

60

80

100

120

2005 2006 2007 2008 2009 2010 2011

Applicants and new students, youth education

0

50

100

150

200

250

300

350

2005 2006 2007 2008 2009 2010 2011

Completed degrees

0

10

20

30

40

50

60

70

80

2007 2008 2009 2010 2011

Outbound exchange students Inbound exchange students

Student exchange

0

5

10

15

20

25

30

35

2005 2006 2007 2008 2009 2010 2011

Degrees completed by overseas students


0

5 000

10 000

15 000

20 000

25 000

30 000

35 000

40 000

2005 2006 2007 2008 2009 2010 2011

Funding sources (in thousand euros)

Supplementary fundingBudgeted funding

0

5 000

10 000

15 000

20 000

25 000

30 000

35 000

40 000

2005 2006 2007 2008 2009 2010 2011

Cost structure (in thousand euros)

Rental costsOther expensesStaffing costs

0

100

200

300

400

500

2005 2006 2007 2008 2009 2010 2011

Personnel (man-years)

Other staffTeaching and research staff

Bachelor’s Master’s Doctorate Master’s Doctorate

0

200

400

600

800

1000

1200

2005 2006 2007 2008 2009 2010 2011



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40

60

80

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120

2005 2006 2007 2008 2009 2010 2011


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250

300

350

2005 2006 2007 2008 2009 2010 2011

Completed degrees

0

10

20

30

40

50

60

70

80

2007 2008 2009 2010 2011


Student exchange

0

5

10

15

20

25

30

35

2005 2006 2007 2008 2009 2010 2011



0

5 000

10 000

15 000

20 000

25 000

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2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011




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Public concerts2005 2006 2007 2008 2009 2010 2011

Number ofpublic concerts

341 280 249 469 475 460 396

Public concertsaudience numbers

40748 29198 29684 34000 36962 34820 34000

Commissioned concerts

2005 2006 2007 2008 2009 2010 2011Number of commis-sioned concerts

317 292 305 333 182 213 254

Commissioned concerts audience numbers

52900 72483 50550 78840 45717 31318 34000

Key figures – personnel, finances and concerts

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2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011


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2005 2006 2007 2008 2009 2010 2011

Completed degrees

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10

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2007 2008 2009 2010 2011


Student exchange

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5

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2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011


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2005 2006 2007 2008 2009 2010 2011

Completed degrees

0

10

20

30

40

50

60

70

80

2007 2008 2009 2010 2011


Student exchange

0

5

10

15

20

25

30

35

2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011

Completed degrees

0

10

20

30

40

50

60

70

80

2007 2008 2009 2010 2011


Student exchange

0

5

10

15

20

25

30

35

2005 2006 2007 2008 2009 2010 2011



0

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2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011



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2005 2006 2007 2008 2009 2010 2011




Annual Report 2011

Documents

Transcript of Annual Report 2011