Harmonizing Finland: Influences of Finnish Composers, Folk Music, and Popular Music

Finland is a country that has a rich musical history and continues to be an innovator in

many areas of music in the present day. There are many things that contribute to the musical

landscape this country has, including prolific composers of the past, cultural instruments, folk

music traditions, and new styles of music that have emerged within the past few decades. This

paper will explore these elements and explain how they shaped Finland’s music scene. Jean

Sibelius, one of the most influential Finnish composers of the 19th and 20th centuries wrote

numerous works that influenced the country’s musical history. In addition to this, the kantele, a

traditional Finnish instrument, has been played by Finns throughout history and is still practiced

today throughout the country. Folk music, both secular and religious, is another vital element of

Finland’s music history and current culture. It is performed both by ordinary people as well as

professional and commercial artists. In addition to this, the development and promotion of rock

and metal bands in Finland has led to nationwide and global recognition and success for these

bands as well the country as a whole.

Despite being inhabited by people nearly 9,000 years ago, Finland has only been declared

as an independent country since 1917. The country was originally home to indigenous Finns and

the Sami people until the Middle Ages. During this time, Swedish influence overtook the

country, and the land was ruled by Sweden for centuries afterward. Due to continued conflict

with other nations, Finland eventually came under Russian rule in the 19th century. Despite these

changes in leadership and conquests by other peoples, Finland’s traditions and culture remained

strong. Due to the increase in nationalism and desire to be an independently ruled country,

Finland fought for its independence and was subsequently declared free from Russia on
December 6th, 1917. Since then, Finland has developed considerably, and its customs and

traditions are recognized widely throughout the country as well as in other areas of the world.

The current population of Finland is just over 5.5 million people (Enander 2023).

Jean Sibelius was born on December 8th, 1865 in Hämeenlinna, Finland, and died on

September 20th, 1957 in Järvenpää, Finland. Sibelius is remembered as one of the most

influential Finnish composers of the 19th and 20th centuries and is sometimes referred to as the

“national composer” of Finland. His compositions often focus on the nature in Finland,

traditional folklore, and nationalism. As a young child, Sibelius was intrigued by music and liked

to improvise on the piano. His family took notice of his increasing interest in music and was able

to offer him violin lessons from his uncle. Sibelius is noted to have been a quality violinist,

although he preferred to appear in chamber ensembles or larger groups rather than as a soloist.

His journey into composition began when he received a composition and harmony textbook as a
gift, which he studied and began writing amateur compositions with (Dahlström, Fabian and

Hepokoski, James 2001).

When Sibelius decided to begin his university studies, he originally enrolled in Helsinki

University to study law. However, it quickly became apparent that this line of study was not

suited for him. Within a year, Sibelius decided to focus solely on music. As a result, he enrolled

in the newly established Helsinki Music Institute to study violin (Dahlström, Fabian and

Hepokoski, James 2001). While at the Helsinki institute, Sibelius improved his violin technique

greatly. Despite his enjoyment and proficiency at the instrument, he still found himself more

drawn to composition. Because of this, Sibelius began to study composition privately under a

professor at the university and produced a number of short chamber works while still in school

(Dahlström, Fabian and Hepokoski, James 2001).

After graduating from the Helsinki Music Institute, Sibelius continued his composition

studies in Berlin. While enthusiastic and hardworking, Sibelius did not find Berlin to be a

positive influence on his learning nor on his existing compositions. As a result, he returned to

Finland while continuing to compose additional works. He eventually found inspiration in a

Viennese conservatory, which helped his abilities to improve and resulted in him producing even

more compositions that were closer to those seen throughout the majority of his life. It is during

this time that Sibelius also began writing compositions that were nationalistic in nature and

focused on folklore and other distinctly Finnish traditions and themes (Dahlström, Fabian and

Hepokoski, James 2001).

 Left: A photo taken of Sibelius

in his early days as a composer

(circa 1891)

As Sibelius continued his study and practice of composition, he began to write

predominantly for orchestral ensembles. The works that gained him the most success and

notoriety while he was alive almost exclusively include his orchestral works. For example,

throughout his life, Sibelius produced a total of seven symphonies. It is rumored that he also

composed an eighth symphony, but he was unhappy with it and subsequently destroyed it. Of the

seven existing symphonies, all are major works that were widely renowned at the time they were

published, as well as still being performed by major orchestras today (Dahlström, Fabian and

Hepokoski, James 2001). These compositions are richly developed and reflect the characteristics

of Sibelius as a composer. They are often viewed as a reflection of nature, and have qualities that

are reminiscent of text painting, despite the absence of literal words in the music. Some people

have speculated that some of these symphonies, especially the second one, contain elements of

politics and the views that Sibelius held during his life. While this cannot be explicitly confirmed
or denied, this remains a possibility that is still discussed (Dahlström, Fabian and Hepokoski,

James 2001).

Despite speculations of political influence in his symphonies, there are other works that

Sibelius composed that were in direct response to the political tensions in the country at the time.

For example, “Finlandia”, another one of his most famous works, was written as a nationalistic

response to the ongoing “Russification” occurring in Finland. This was popular with many

people who wanted to preserve the country’s autonomy and gain full independence, although

there were others who strongly disagreed with the message of “Finlandia”. While this was

performed by many orchestras, there were times when this piece had to be presented under a

different title for fear of retaliation from political authority figures. Despite these challenges,

Sibelius remained a composer of some nationalist works throughout his career (Dahlström,

Fabian and Hepokoski, James 2001).

Some other compositions that Sibelius is well-known for include “Valse Triste”, a piece

composed for the play “Kuolema” (“Death”) in 1903, “The Oceanides”, composed in 1913, and

“Tapiola”, a tone poem composed in 1926. “Tapiola” was the last major work that Sibelius

composed during his life. Despite living for another 30 years, he virtually stopped composing

altogether after this was published. While a few shorter works were seen in the years following,

it is clear that the major years of composing music had ended. Sibelius lived out the rest of his

life in Finland, until he died at the age of 91 in Järvenpää (Dahlström, Fabian and Hepokoski,

James 2001).

While Sibelius contributed greatly to the classical scene in Finland, there are other areas

that also comprise the country’s music history. Folk music is seen in several countries, tribes,

and cultures throughout the world, which is something that can also be observed in Finland.
There are several kinds of folk music throughout the country that have been passed around for

generations, but in general, most folk music was historically learned and performed by ordinary

people of the middle and lower class. There were little to no musicians in Finland’s past who

made their living by performing folk music. While much of this music has been written down

today for preservation, the majority of folk music in the past was learned through word of mouth.

These songs usually include instrumental accompaniment with singing, and can be about a

variety of things, such as folklore, daily events, holidays, and other occurrences (Gronow 1973,

54).

In much of Finland’s folk music, songs are rarely played with instruments alone. Instead,

instruments serve a vital role in accompanying singing. Because of this, the kantele, an

instrument native to Finland, as well as the country’s national instrument, is used in a lot of

Finnish folk music. The kantele is categorized as a zither chordophone that can be plucked and

strummed. It has a wooden body and metal strings. Kanteles come in various sizes and can have

different numbers of strings. The smallest kantele has only 5 strings and can fit in a person’s lap.

The 5-stringed kantele is often taught to young schoolchildren in Finland in order to get them

acquainted with instruments and let them experiment with music making. This kantele is very

easy for beginners to learn and produces pleasant sounds due to the tuning system that is used.

Along with learning basic melodies, the 5-stringed kantele also promotes easy collaboration and

improvisation with others playing the same or similar instruments (Soria 2017).

While the 5-stringed kantele is the most basic version of the instrument, there are various

other models as well. Kanteles may also have 10, 11, 15, 36, and even up to 40 total strings. As

the number of strings the instrument has increases, so does the size of the kantele. While the 5-

stringed kantele can easily fit into a person’s hands or lap, the larger models often need the added
support of a chair, table, or stand. Kanteles are very important in Finnish folk music but are also

used in other situations in Finland and other parts of the world, such as supplementing

ensembles, being used as a solo instrument for sections of pieces or songs, and even being used

as parts of soundtracks for movies and games (Soria 2017).

Above Left: A picture of a 5-string Above Right: A picture of a 36-string

kantele, the smallest variation of the kantele, a larger variation of the
instrument. instrument.

Aside from traditional folk music that is learned orally and typically passed around

through families and friends, there are other forms and styles of folk music that have been

popularized and even commercialized in Finland through the years. For example, tango is a

lively part of Finnish culture, which can be observed through dance as well as music. Similarly,

polkas are another form of music that are popular in the country. A specific example of a Finnish

tango is the song “Satumaa”, written by Unto Mononen and published in 1955. The title of this

song roughly translates to “The Fairytale Land”, in which the singer tells a story of longing for a

land beyond the vast sea that is only attainable in his or her thoughts (Taipale 1993). In the art of

tango in Finland music and dance are interconnected, with the instruments and singers essentially

echoing the dancers. Likewise, this connection can also work in reverse, with the dancers

following the melody and notes produced by the instrumentalists and singers. A recording of

“Satumaa” by the artist Reijo Taipale tells the story of this song through his artful singing and

the instrumental accompaniment provided. Although his rendition of this song does not include
dancers, one can imagine how the movements of dancers would mimic the singing heard in this

recording. Here is a link to this specific recording of Taipale performing “Satumaa”:

https://www.youtube.com/watch?v=DkiFS0hsx0I

Another example of Finnish folk music that has become more widely produced over the

years is a polka called “Ievan Polkka”. This song was written in 1928 by Eino Kettunen and has

gained recognition throughout Finland and other areas of the world, such as Japan and Russia, in

recent years. The song tells a story of a woman named Ieva who is wooed by a man while

dancing, much to the disapproval of Ieva’s mother. The song is performed in a variety of ways,

sometimes acapella, sometimes as an instrumental ensemble, and other times, through

completely electronic vocals and instruments. The structure of the song is largely strophic,

although there are some sections that vary a bit from others. The lyrics of the song itself are

usually difficult even for native Finns to understand, as the words are derived from an old

Finnish dialect. Despite this, “Ievan Polkka” remains one of Finland’s most popular songs to this

day. One of the most popular recordings of this song is by the acapella group “Loituma”,

consisting of four members (Loituma 2021). The following link directs to a recording of Loituma

performing “Ievan Polkka” in 2021: https://www.youtube.com/watch?v=Zcg66Qcwjw8

Along with secular folk music, religious and holiday music are other types of traditional

music that are central to Finland’s music landscape. The holiday with the largest catalogue of

music and the most influence in Finnish culture is Christmas. While religious people are often

drawn to this music, the non-religious also equally enjoy and perform these songs. Similar to

Christmas music in other areas of the world, some Finnish Christmas music is religious in nature,

while others focus on a certain theme or setting relating to the holiday or season. An interesting

point to note is that much of Finland’s holiday music contrasts from most of the holiday songs
heard in other countries, such as North America. Finnish Christmas music tends to be of a more

melancholy tone and may contain themes of loss or loneliness. This is partially due to the culture

of Finland and how the seasons affect its population. Certain parts of Finland receive very little

sunlight for a majority of the year and remain relatively cold throughout. Because of this and the

surrounding landscapes, a distinctly “Finnish” sound emerged from the country, which includes

more somber themes and the frequent use of minor keys in songs and pieces (“The Most

Beautiful Christmas Songs” n.d. and Ollila 2008).

There are many Finnish Christmas songs that utilize these elements to create somber and

“moody” melodies. A few examples of these songs include “Varpunen Jouluaamuna”,

“Suojelusenkeli”, and “Konsta Jylhän Joululaulu”. “Varpunen Jouluaamuna”, which translates to

“The Sparrow on a Christmas Morning”, tells a story about a girl who feeds a hungry sparrow on

Christmas morning. Because of her charity, the bird reveals that he is actually her younger

brother whom she lost the previous year. The song “Suojelusenkeli” translates to “Guardian

Angel”, which describes a child walking along a dangerous path and being lead through the

danger by his guardian angel. “Konsta Jylhän Joululaulu” translates to “Konsta’s Christmas

Carol”, which describes the sorrow of a child who walks to the cemetery and places a candle on

his mother’s grave on Christmas. The song reveals the loneliness the child feels while showing a

glimmer of hope and consolation that the child is not truly alone in the later verses (“The Most

Beautiful Christmas Songs” n.d. and “Konsta Jylhän Joulu” 2017).

Below is a link to a recording of “Konsta Jylhän Joululaulu” by the Finnish artist Suvi

Teräsniska. https://www.youtube.com/watch?v=4zAH8FSaKXk

Along with this recording is a transcription I created of this song. Included in my transcription is
the melody, chords, and lyrics for the first verse. I used this arrangement in a Finnish Christmas

concert that I presented in 2021.

Along with the importance of folk and holiday music, there is also a large heavy metal

scene in Finland. Through the development of music in the country throughout time, many

musicians began to experiment with new styles of music while incorporating familiar elements.

The music that resulted from the culture’s influence as well as interest from other areas of the

world was symphonic metal. This genre emerged in the 1990s, and usually consists of typical

rock band instruments, such as a drum set, electric guitar, electric bass, and keyboards and/or

synthesizers. However, the thing that sets this subgenre apart from other types of metal is that
symphonic metal incorporates operatic vocals into its songs along with orchestral backing tracks

(Tekeli 2020).

The pioneer of symphonic metal is widely regarded to be the band “Nightwish”. This

band was founded in 1996 and originally consisted of Tuomas Holopainen (composer and

keyboardist), Emppu Vuorinen (electric guitar), Sami Vänskä (electric bass), Jukka Nevalainen

(drums), and Tarja Turunen (vocals). Similar to Christmas music that was discussed previously,

Nightwish’s music primarily utilizes minor keys and somber subjects. The original intent of the

band in its founding was to be a lighter, acoustic group with smooth vocals and relaxed

background music. However, Holopainen soon realized that Turunen’s voice would quickly

overpower acoustic instruments in this setting, and decided that her voice was better suited to

“heavier” music (Ollila 2008). Because of this, Holopainen adjusted the instrumentation of his

compositions to include typical rock band instruments. Turunen still sang in an operatic style

while the band played heavier music, which resulted in the creation of symphonic metal (Ollila

2008).

Despite the member changes that have occurred over time, Nightwish has remained

relatively consistent in its style to the present day. As happens with most existing groups, the

messages have changed slightly over time as new music has been written and ideas have been

proposed. Despite this, Nightwish continues to be a leader in the symphonic metal scene not only

throughout Finland, but also globally (Tekeli 2020).

The influence that Nightwish has had on other musicians can be seen in the emergence of

symphonic metal bands following the band’s initial founding. Some other symphonic metal

bands that emerged at a similar time as a result include “Epica”, “After Forever”, and “Sonata

Arctica”. Simone Simons, the singer of Epica, has noted that her singing style is directly based
on Tarja Turunen’s style of singing and Nightwish’s early albums. Another connection between

these bands and Nightwish is that the original singer of the now disbanded After Forever, Floor

Jansen, is Nightwish’s current vocalist. While she does not implement an operatic style of

singing as much as her predecessor Tarja Turunen, she is familiar with common elements of the

band and was able to match the musical qualities of the band (Ollila 2008 and Tekeli 2020).

There is no doubt that Finland has a rich and diverse music history that has persisted and

changed throughout time. The complex symphonies and tone poems of Sibelius led to him being

named as the country’s national composer. With his catalog of works preserved and still

performed today, Finnish music was and is able to continue to evolve. The kantele provides a

means for beginners and professionals alike to express their musical ideas and feelings through

an instrument. In addition to this, the implementation of the kantele into Finnish folk music has

kept the tradition of the instrument and the music itself alive. In terms of folk music, Finland

contains a variety of different styles of music that has transcended through other art forms, such

as dance. The strongly held Christmas traditions throughout the country also add to the musical

tapestry of Finland. These elements combined with continued innovations resulted in the

development of symphonic metal music in the 1990s, which is a subgenre of heavy metal that

continues to be popular throughout the world today. Past and present musicians have left and

continue to leave major influences on Finland’s music as well as other countries globally.
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