Literature
Allen, S. (2019). Resonance CD and LP liner notes. SibaRecords (SRCD-1023 and SRLP-1023). Helsinki: Sibelius Academy.
Barbour, K., Ratana, D., Waititi, C., & Walker, K. (2007). Researching collaborative artistic practice. Waikato Journal of Education, 13, 49–76.
Bateman, T. (2016). Joik as the Golden Thread of Sami Revitalization. Honors Theses. 221. Arkadelphia: Ouachita Baptist University.
https://scholarlycommons.obu.edu/honors_theses/221 (accessed April 13, 2019).
Bhabha, H. K. (2012). The Location of Culture. London: Routledge.
Bhabha, H. (1988). The commitment to theory. New formations, 5 (1), 5–23.
Borgdorff, H. (2009). Artistic research within the fields of science. Bergen: Bergen Academy of Art and Design (KHiB).
Burke, K. (n.d.). The Sami Yoik, Sami Culture, the University of Texas,
https://www.laits.utexas.edu/sami/diehtu/giella/music/yoiksunna.htm (accessed April 13, 2019).
Easthope, A. (1998). Bhabha, hybridity and identity. Textual practice, 12 (2), 341–348.
Ellis, C., and Bochner, A. P. (2000). Autoethnography, personal narrative, reflexivity: Researcher as Subject. In Handbook of Qualitative Research, eds. N. K. Denzin and Y. S. Lincoln. Thousand Oaks, CA: Sage, 733–768.
Gascoigne, N., & Thornton, T. (2014). Tacit Knowledge. London: Routledge.
Giannattasio, F. (2017). Perspectives on a 21st century comparative musicology: an Introduction. Perspectives on a 21st century comparative musicology: Ethnomusicology or transcultural musicology? Udine: Nota (Intersezioni musicali), 10–29.
Hargreaves, D. J., Miell, D., & MacDonald, R. A. (2002). What are musical identities, and why are they important. In Musical Identities 2, eds A. R. MacDonald, D. J. Hargreaves, and D. Miell. Oxford: Oxford University Press, 1–20.
Kertz-Welzel, A. (2018). Globalizing Music Education: A framework. Indiana: Indiana University Press.
Manning, E. (2016). Ten Propositions for Research-Creation. In Collaboration in Performance Practice, eds. Colin N., Sachsenmaier S. London: Palgrave Macmillan, 133–141.
Nettl, B. (2010). Nettl's Elephant: On the History of Ethnomusicology. Urbana, Springfield and Chicago: University of Illinois Press.
Polanyi, M. (2009). The Tacit Dimension. Chicago: University of Chicago Press.
Ramaswamy, V., & Gouillart, F. J. (2010). The Power of Co-creation: Build it With Them to Boost Growth, Productivity, and Profits. New York: Free Press.
Renshaw, P. (2013). Collaborative Learning: A Catalyst for Organisational Development in Higher Music Education. In Collaborative Learning in Higher Music Education, eds. H. Gaunt and H. Westerlund. Surrey: Ashgate Publishing Limited, 237–246.
Robinson, K. (2010). Changing Education Paradigms. RSA Animate, The Royal Society of Arts, London, retrieved from https://youtu.be/zDZFcDGpL4U?t=644. London: RSA (accessed 28 February, 2020).
Rosa, H. (2019). Resonance: A Sociology of Our Relationship to the World. City: John Wiley & Sons.
Rutherford, J. (1990). The Third Space. Interview with Homi Bhabha. In: Ders. (Hg): Identity: Community, Culture, Difference. London: Lawrence and Wishart, 207–221.
Sawyer, R. K., & DeZutter, S. (2009). Distributed creativity: How collective creations emerge from collaboration. In Psychology of Aesthetics, Creativity, and the Arts, 3 (2), eds. T. Goldstein and O. Vartanian. Washington DC: American Psychological Association, 81.
Sawyer, K. (2015). Group Flow and Group Genius. NAMTA Journal, 40 (3), 29–52.
Schippers, H. (2010). Facing the Music: Shaping Music Education from a Global Perspective. New York: Oxford University Press.
Small, C. (2011). Music of the Common Tongue: Survival and Celebration in African American music. Hanover and London: Wesleyan University Press.
Thomson, N. R. and Lähdeoja, O., (2019). Forming a Sonic Identity through the Integration of Transculturality and Technology. Body, Space & Technology, 18 (1), 33–60. DOI: http://doi.org/10.16995/bst.316 (accessed 1 October 2019).
Turino, T. (2008). Music as Social Life: The Politics of Participation. London: University of Chicago Press.
Van der Linden J., Erkens G., Schmidt H., Renshaw P. (2000). Collaborative Learning. In New Learning, eds. Simons RJ., Van der Linden J., Duffy T. Dordrecht: Springer.
Whitchurch, C. (2012). Reconstructing Identities in Higher Education: The rise of Third Space professionals. London: Routledge.
Wren, T. (2014). Improvising Culture: Discursive Interculturality as a Critical Tool, Aesthetic, and Methodology for Intercultural Music. PHD thesis, Queensland Conservatorium, Griffith University, Brisbane, Australia.Brisbane: Griffith University.
Discussions, Interviews and Diary Entries
Adewale, A. (2020). Personal written feedback by email (14 February 2020). In the possession of the researcher.
Adewale, A. and Thomson, N. R. (2017). Recorded discussion (17 April 2017). In the possession of the researcher.
Adewale, A. and Thomson, N. R. (2017). Recorded discussion (31 May 2017). In the possession of the researcher.
Länsman, H. (2020). Personal written feedback by email (27 February 2020). In the possession of the researcher.
Länsman, H. and Thomson, N. R. (2019). Personal written communication by text message (29 March 2019). In the possession of the researcher.
Länsman, H. and Thomson, N. R. (2018). Recorded discussion (2 November 2018). Recorded by Thomson, N. R. In the possession of the researcher.
Thomson, N. R. (2018). Diary Entry (17 December 2018). In the possession of the researcher.
Multimedia Materials
Photos
Figure 1.0.
Culebro, J., Thomson, N. R. (2019). Photo of milk resonating to bass frequencies. Created by Thomson, N.R. Photo by Culebro, J.
Figure 1.1.
Culebro, J., Thomson, N. R. (2019). Photo of salt resonating to bass frequencies. Created by Thomson, N.R. Photo by Culebro, J.
Figure 1.2.
Culebro, J., Nyrhinen, J., Thomson, N. R. (2018). Custom made double bass buzzer created Nyrhinen, J. and Thomson, N. R.
Photo by Culebro, J.
Figure 1.3.
Kallio, K., Nyrhinen, J. and Thomson, N. R. (2019). Photo of Nathan Riki Thomson playing a double bass fitted with custom made preparations and attachments designed by Nyrhinen, J. and Thomson, N. R. Photo by Kallio, K.
Figure 1.4.
Culebro, J., Thomson, N. R. (2019). Photo of milk reacting to bass frequencies. Created by Thomson, N.R. Photo by Culebro, J.
Figure 1.5.
Culebro, J., Thomson, N. R. (2019). Photo of salt reacting to bass frequencies. Created by Thomson, N.R. Photo by Culebro, J.
Figure 1.6.
Culebro, J., Thomson, N. R. (2019). Photo of milk reacting to bass frequencies. Created by Thomson, N.R. Photo by Culebro, J.
Figure 1.7.
Culebro, J., Thomson, N. R. (2019). Photo of milk reacting to bass frequencies. Created by Thomson, N.R. Photo by Culebro, J.
Figure 1.8.
Kallio, K. (2017). Photo of Adriano Adewale and Nathan Riki Thomson. Ode to Nana, live performance, Black Box Helsinki Music Centre (2 June 2017)
Figure 1.9.
Haapoja, M. (2019). Photo of Hildá Länsman and Nathan Riki Thomson. Resonance album launch, Vuotalo, Helsinki (7 November 2019).
Figure 1.10.
Kallio, K. (2017). Photo of Adriano Adewale and Nathan Riki Thomson. Ode to Nana, live performance, Black Box Helsinki Music Centre (2 June 2017)
Figure 1.11.
Thomson, N. R. (1993). Photo of Ubi Zawose playing ndono at his home, Bagamoyo, Tanzania.
Figure 1.12.
Arola, J. (2019). Photo of Adriano Adewale and Nathan Riki Thomson. Resonance album launch, Vuotalo, Helsinki (7 November 2019).
Figure 1.13.
Thomson, N. R. (2018). Graphic score, Ode to Nana for Berimbau and Double Bass.
Figure 1.14.
Thomson, N. R. (2018). Working notes for Ode to Nana for Berimbau and Double Bass.
Figure 1.15.
Arola, J. (2019). Photo of Adriano Adewale and Nathan Riki Thomson. Resonance album launch, Vuotalo, Helsinki (7 November 2019).
Figure 1.16.
Kallio, K. (2017). Photo of Adriano Adewale and Nathan Riki Thomson. Live, Black Box, Helsinki Music Centre (2 June 2017).
Figure 1.17.
Nauska, J. (2017). Photo of Hildá Länsman.
Figure 1.18.
Haapoja, M. (2019). Photo of Hildá Länsman and Nathan Riki Thomson. Resonance album launch, Vuotalo, Helsinki (7 November 2019).
Figure 1.19.
Arola, J. (2019). Photo of Hildá Länsman. Resonance album launch, Vuotalo, Helsinki (7 November 2019).
Figure 1.20.
Arola, J. (2019). Photo of Hildá Länsman and Nathan Riki Thomson. Resonance album launch, Vuotalo, Helsinki (7 November 2019).
Figure 1.21.
Culebro, J., Malpica, D. and Tirronen, U. (2019). Front cover image of the album Resonance (Thomson 2019).
SibaRecords (SRCD-1023 and SRLP-1023). Helsinki: Sibelius Academy.
Recordings
Figure 2.0.
Adewale, A. and Thomson, N. R. (2019). Ode to Nana. Composition appears on Resonance (Thomson 2019) CD and LP. SibaRecords (SRCD-1023 and SRLP-1023). Helsinki: Sibelius Academy.
Figure 2.1.
Adewale, A. and Thomson, N. R. (2019). Ode to Nana (out-take). Unpublished out-take of an improvisation. Helsinki: Sibelius Academy.
Figure 2.2.
Länsman, H. and Thomson, N. R. (2019). Oaidnemeahttun / Invisible. Composition appears on Resonance (Thomson 2019) CD and LP. SibaRecords (SRCD-1023 and SRLP-1023). Helsinki: Sibelius Academy.
Figure 2.3.
Länsman, H. and Thomson, N. R. (2018). Rehearsal recording excerpt. (2 November 2018).
Recorded by Thomson, N. R. In the possession of the researcher.
Figure 2.4.
Länsman, H. and Thomson, N. R. (2018). Rehearsal recording excerpt. (2 November 2018).
Recorded by Thomson, N. R. In the possession of the researcher.
Figure 2.5.
Länsman, H. and Thomson, N. R. (2018). Rehearsal recording excerpt. (2 November 2018).
Recorded by Thomson, N. R. In the possession of the researcher.
Videos
Figure 3.0.
Adewale, A. and Thomson, N. R. (2017). Video excerpt from Resonance 2, Black Box, Helsinki Music Centre (2 June 2017). Video materials are in the possession of the researcher.
Figure 3.1.
Tanttu, V. and Thomson, N. R. (2018). Video excerpt from Resonance 3 – Continuum. Black Box, Helsinki Music Centre (15 June 2018). Video by Tanttu, V. Created by Thomson, N. R. Video materials are in the possession of the researcher.