13. Acknowledgments
The content of my thesis is actually a reflection and summary of my music studies, projects and journey over the past 3 years whilst studying in the Glomas world music master program in Finland Helsinki. I believe that one of the hardest challenges for a musician, and artist is to sit, reflect, analyze and write about the process they are going through instead of creating new art. This thesis made me do just that; sit down and write, analyze and think of all the experiences and knowledge I have gained during the past 3 years, teaching, studying, creating and performing music. So instead of running to the next project, I took the time to write this thesis and it made me realize how much I have learned, and how privileged I am to meet so many amazing and talented people on my journey and also to appreciate how much more there is to learn.
I would like to thank all the people, musicians, friends who are part of the writing progress and master studies journey.
To my family who were always with me if not physically, then in my mind and heart.
To the Global Music Program at Sibelius Academy, to the teachers, the students, The glomas family and all the people who are dedicated to the success of this program. To the Glomas foundation and Sibelius Academy Foundation for supporting my field trip.
Special thanks to the head of the program and my supervisor Nathan Thomson, who spent time and energy, hearing my ideas and directing me in my master music studies and particularly in this thesis.
To my composition teacher and master concert supervisor Timo Alakotila.
To my vocal teacher at Sibelius academy Karoliina Kantelinen. To Merzi Rajala , and Lauri Salokoski. To Jussi Kannaste for allowing me to interview him.
To all the musicians who performed with me in my master project in Helsinki “Beyond the River”- Timo Alakotila, Ali Haithem, Hector Lepe, Viola Uotila, Lotta Pitkänen, Iiris Tarnanen, Roser Gabriel, Ahoora Mahone, Ilmari Rönkä, Ilkka Arola, Annika Lyytikäinen, Jaakko Arola, Oskari Armas Siirtola, Christopher Rodulfo.
To Aarhus RAMA Royal Music Academy in Denmark. special thanks to Karsten Aaholm, Keld Hosbond and my teachers Chappe Jensen , Maher Mahmoud, Jesper Bodilsen ,Kasper Bai, Jim Daus Hjernoe and Kiku Day.
To the DCMA music academy in Stone Town Zanzibar, who accepted me as a volunteer teacher at the academy. To the "Tarajazz” band who embraced me and allowed me to play, perform and learn from them. Special thanks to Mahsin Basalama, Suleiman Makame , Hassan Mahenge, Amina Omar, Robert John, Halda Alkanaan and Alessia Lombardo.
To my musician friends in Morocco special thanks to Chakib Jallali and to the Maestro composer Amara Abdessamad from Essaouira, for composing my lyrics.
To my teacher Maestro Yair Dalal from israel , for introducing me to the maqamat world.
To Hagai Belizky for letting me join his class at the Jerusalem academy and for reading the Arabic chapter in my thesis and providing feedback.
To my friend Alaa Zouiten, oud player, composer and ethnomusicologist thank you for our collaboration.
In order for me to finish my master studies and write this thesis I required a bachelor degree in music and I would like to take this opportunity to thank all my teachers and friends during my time at the Rimon music school in Israel and Newpark jazz collage in Ireland for all their help and support.
And last but not list to my mother Elaine Hoter! For helping me by editing this thesis! I couldn’t have done it without you! Love you so much.
And thank you dear readers! For reading my thesis and taking part in my journey.
You are welcome to keep in touch via my website- www.michalhoter.com or email- earthcolour001@gmail.com
would love to hear your thoughts and comments.
Yours Michal.
12. References
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Interviews:
Jussi Kannaste 29/11/ 2019
Suleiman Makame 26/7/2019
Maher Mahmoud 1/5/2018
Susanna Bjorkstrand 1/5/2018
Photos credit-
Background photo on the first page by Arik Amit, Israel.
Master concert photos on page 9.5 by Jorma Airola, Finland
Background photos on pages 4,11,12- by Devi Anna , Ireland.
Field work photos on page 9 by Michal’s Hoter.