Tempo Brings Musicians Together

JAES

3.6.2025

Austin and Antonia play in the Tempo Orchestra. Jenni Peltoniemi coordinates the pilot project. Photo: Juha Merimaa

Antonina Yevtushok, 12, plays the viola, and Austin Mark, 9, plays the violin in the same orchestra. However, they do not share a strong common language: Yevtushok, who is Ukrainian, speaks little English, and Mark, who came from the Philippines, has limited Finnish skills. Nevertheless, this does not stop them from playing together in the Tempo Orchestra, which practices at their school in Tuppurala, Mikkeli.

The idea behind the Tempo Orchestra is to offer an easy-access way to play music. It suited Yevtushok, who says she has dreamed of playing classical music since she was a small child.

“As soon as my mother told me about the opportunity, I wanted to join,” she says. Mark, on the other hand, joined the orchestra at the initiative of his teacher. Both speak highly of their experiences.

“The teachers and other players are friendly. It’s fun to play together,” Yevtushok says. Among the 18 musicians, there are many nationalities, but even the lack of a shared language is not an issue – Finnish and English have been sufficient.

In May, the duo performed with the orchestra at the Martinus Hall in Vantaa. Even though they have only played for a year and a half, this was the orchestra’s fourth concert – performing from the very beginning is part of the Tempo Orchestra’s philosophy. And it works for children.

“It’s fun to play and bring joy to the audience,” says Mark.

Lowering the Thresholds

Tempo Orchestra is one way the Mikkeli Music Institute is participating in the pilot project “Future-Resilient School Culture” led by the Conservatory Association. The aim of the pilot is to find ways to broaden access to music education as society becomes more diverse.

“At the same time, we are trying to keep the music school activities vibrant in areas with population decline,” says project coordinator Jenni Peltoniemi.

One method is low-threshold orchestras, which provide an opportunity to take up an instrument for those who might not otherwise have access – for example, low-income immigrants. In addition to the Tuppurala string orchestra, the music institute also runs a family Tempo Orchestra taught by Peltoniemi herself. A third low-threshold Tempo Orchestra will start at the Rantakylä school in Mikkeli in fall 2025.

All the orchestras are funded by project grants from the Jane and Aatos Erkko Foundation. The instruments were purchased using funds bequeathed to the City of Mikkeli. This keeps the barrier to participation low, even for the financially disadvantaged.

In addition to orchestras, Peltoniemi organizes music play schools with language instruction for immigrant families and preschools. There’s also a focus on developing collaboration between primary schools, high schools, and the music institute.

A little over two years might seem like a short time to achieve lasting impact on such big issues.

“We obviously hope to continue the activities beyond the project. We are exploring whether companies and private individuals could sponsor the orchestras,” says Peltoniemi.

Classical Music Not Just for the Elite

The diversification of society is also being taken seriously at Finland’s most prominent music education institution, the Sibelius Academy.

The Academy’s roots are deeply international – its first director, Martin Wegelius, actively sought influence and teachers from abroad. Nevertheless, the first impression of a classical music university often leans more toward elitism than accessibility.

But that impression is misleading, says Emilie Gardberg, Dean of the Sibelius Academy at the University of the Arts Helsinki.

“We’ve tried to lower the threshold to explore our activities. For example, most of our concerts are now free of charge. Only the most expensive productions have entrance fees.”

In music pedagogy, there is also a focus on inclusion. The idea is to improve guidance so that school music education can make all students feel that music is for them too.

“It’s a false idea that music requires special talent,” Gardberg emphasizes.

”Making music, like practicing art in general, belongs to everyone. Extremely few people are truly tone-deaf. I believe everyone can participate in making music if given the opportunity.”

Emilie Gardberg

Following the Music of Missionaries

At the Sibelius Academy, ways to break down barriers are also being explored through the multifaceted Sound and Justice project, funded by the Jane and Aatos Erkko Foundation. The project has many components, from a global music master’s program that mixes different musical cultures to a jazz program that explores the roots and evolution of jazz toward hip-hop.

Gardberg highlights a particular project where the early music group from the Sibelius Academy traveled to Southern California to study the musical heritage brought by European missionaries to the area and the influence of indigenous music on that heritage.

A group of five students and teachers performed twice with the University of Southern California’s baroque orchestra. The second concert was held in the San Gabriel Mission Church, built in 1771, featuring not only European music but also Latin American compositions.

The Sound and Justice project is expected to culminate in 2028 with the premiere of an opera created using non-hierarchical methods, synthesizing the diverse backgrounds and stories of a U.S.-Finnish creative team.

Art Belongs to Everyone

Art is often said to belong to everyone. Therefore, it also offers opportunities to bring people together. Both Mikkeli’s Jenni Peltoniemi and the Sibelius Academy’s Emilie Gardberg emphasize the importance of lowering barriers between art institutions and the rest of society.

For example, the Sibelius Academy plays a crucial role in Finland’s music scene and significantly influences how the field’s culture develops. The Academy has begun discussions about how future music educators can be equipped to acknowledge the full diversity of society.

As part of the Sound and Justice project, the Academy is also developing a resource book to find ways to better include students who have previously been overlooked in music education.