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Journal articles on the topic 'Kaija'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Gray, Mary W. "Émilie by Kaija Saariaho." Mathematical Intelligencer 38, no. 4 (2016): 84–85. http://dx.doi.org/10.1007/s00283-016-9642-5.

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2

Munk, J. "Kaija Saariaho. By Pirkko Moisala." Music and Letters 92, no. 1 (2011): 174–76. http://dx.doi.org/10.1093/ml/gcq096.

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3

Järvensivu, Anu. "Näkökulmia työhön ja oppimiseen yksien kansien sisällä." Aikuiskasvatus 29, no. 1 (2009): 71–72. http://dx.doi.org/10.33336/aik.94176.

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Ojala, Hanna. "Avauksia toimijuuteen aikuiskasvatuksessa." Aikuiskasvatus 31, no. 3 (2011): 220–21. http://dx.doi.org/10.33336/aik.93945.

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5

Kaija, Sandra. "Izmeklēšanas noslēpums procesā par noziedzīgi iegūtu mantu." SOCRATES. Rīgas Stradiņa universitātes Juridiskās fakultātes elektroniskais juridisko zinātnisko rakstu žurnāls / SOCRATES. Rīga Stradiņš University Faculty of Law Electronic Scientific Journal of Law 2, no. 8 (2017): 14–24. http://dx.doi.org/10.25143/socr.08.2017.2.14-24.

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RSU profesore Sandra Kaija savā rakstā pievēršas teorētiskā un praktiskā aspektā nozīmīgas problēmas izziņai, kas ir saistīta ar izmeklēšanas noslēpumu kriminālprocesos par noziedzīgi iegūtu mantu. Neapšaubāmi, ka izmeklēšanas rezultātā iegūto datu konfidencialitātei par noziedzīgi iegūtu mantu ir specifiskas iezīmes, salīdzinot ar izmeklēšanas noslēpumiem kriminālprocesos kopumā. In her article, the Professor of RSU Sandra Kaija focuses on theoretical and practical aspects of the problem connected with the secret of investigation into criminal proceedings regarding criminally acquired propert

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6

Sternburg, Judith von. "Requiem für ein Genie." Opernwelt 65, no. 7 (2024): 14–15. http://dx.doi.org/10.5771/0030-3690-2024-7-014.

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Schweikert, Uwe. "Schuld und Sühne." Opernwelt 65, no. 11 (2024): 14–15. http://dx.doi.org/10.5771/0030-3690-2024-11-014.

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8

Pepper, Kaija. "kraftfelder." tanz 14, no. 2 (2023): 22–27. http://dx.doi.org/10.5771/1869-7720-2023-2-022.

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9

Pasanen, Heikki. "Keskustelunavaus yli koulukuntarajojen." Aikuiskasvatus 31, no. 2 (2011): 150–51. http://dx.doi.org/10.33336/aik.93929.

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Pepper, Kaija. "krimifieber." tanz 15, no. 5 (2024): 4–7. http://dx.doi.org/10.5771/1869-7720-2024-5-004.

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11

Tsaregradskaya, Tatiana V. "Kaija Saariaho and Her Laterna Magica." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 607–35. http://dx.doi.org/10.21638/spbu15.2021.403.

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Nowadays Kaija Saariaho is one of the most successful composers in the field of contemporary classical music. A former student of Tristan Murail, she works in the direction initiated by socalled spectral composition, composing extremely colourful and poetic pieces that are highly appreciated by music critics. One of her orchestra compositions, Laterna Magica, based on the memoirs by Ingmar Bergman and commissioned by the Berliner Philharmoniker Orchestra, premiered in 2009 and became a hit — it was performed more than thirty times after the premiere. This successful piece is the main object of

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12

Moisala, Pirkko, and Camila Durães Zerbinatti. "Gender Negotiation of the composer Kaija Saariaho in Finland: The Woman Composer as Nomadic Subject." Revista Vórtex 3, no. 2 (2015): 1–24. http://dx.doi.org/10.33871/23179937.2015.3.2.886.

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This essay is my interpretation of the gender negotiation of the Finnish composer Kaija Saariaho in Finland. I demonstrate, by examining the public's reception of Kaija Saariaho and her own experiences, how the gender negotiation of gender identity and the presentation of a woman composer take place, as ongoing processes, between the realms of conventional otherness (the socially constructed category of women composers) and real-life experiences of the individual. The analysis is done through the theoretical lenses offered by DE LAURETIS (1988) CITRON (1993), FOUCAULT (1984) and the epistemolo

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13

Sivuoja-Gunaratnam, Anne. "Desire and distance in Kaija Saariaho's Lonh." Organised Sound 8, no. 1 (2003): 71–84. http://dx.doi.org/10.1017/s1355771803001080.

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This article explores the relationship of desire and distance in Kaija Saariaho's Lonh (1996) for soprano and electronics. The subject matter of Lonh is desire and romantic pleasures, anchored to feminine subjectivity, represented on stage by a soprano singer. Electronics provide the environmental sounds and amplify the singer's voice. Through Lonh looms a medieval song in the Occitan language, ‘Lanquan li jorn son lonc en mai’ by Jaufré Rudel, a famous troubadour in twelfth-century Provence. Saariaho reverses the narrative convention of love stories by presenting the most intimate encounter a

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14

Cornell, Meg. "The Order of Things by Kaija Langley." Bulletin of the Center for Children's Books 76, no. 10 (2023): 330–31. http://dx.doi.org/10.1353/bcc.2023.0289.

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15

Zorenkoǿ, Tanya, Larisa Petra Kaija Ǿ. Received, Published Online, and Final Version. "Inbreeding tolerance in two isolated populations of Harting's vole Microtus hartingi (Rodentia, Arvicolinae)." Turkish Journal of Zoology 48, no. 2 (2024): 140–53. https://doi.org/10.55730/1300-0179.3168.

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Zorenkoǿ, Tanya, Received, Larisa Petra Kaija Ǿ, Online, Published, Version, Final (2024): Inbreeding tolerance in two isolated populations of Harting's vole Microtus hartingi (Rodentia, Arvicolinae). Turkish Journal of Zoology 48 (2): 140-153, DOI: 10.55730/1300-0179.3168, URL: http://dx.doi.org/10.55730/1300-0179.3168

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16

Saamishvili, N. N. "True Fire by Kaija Saariaho: Poetics of Composition." Art & Culture Studies, no. 2 (June 2021): 198–229. http://dx.doi.org/10.51678/2226-0072-2021-2-198-229.

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Finnish composer Kaija Saariaho is one of the most prominent figures in contemporary music culture. She became known to the general public after the triumphant premiere of her Love from Afar opera (L’amour de loin, 2000), held at the Salzburg festival. The article is devoted to another work of the composer — the vocal cycle True Fire (2014), which was also successfully received by critics and the public, but has not yet been the subject of a separate study. This work is the first experience of its analysis, focused on both its musical and literary components, which led to the conditional divis

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17

Kucia-Kuśmierska, Katarzyna. "Simone Weil i Kaija Saariaho. Paradoksy literacko-muzyczne." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 10 (December 30, 2021): 67–97. http://dx.doi.org/10.18778/2299-7458.10.04.

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Artykuł jest próbą porównania, w jaki sposób poetyka paradoksu realizuje się w pisarstwie filozoficzno-teologicznym Simone Weil oraz w języku muzycznym fińskiej kompozytorki Kaiji Saariaho w jej oratorium La Passion de Simone, poświęconym życiu i twórczości Weil. Przewodnikiem na drodze analizy komparatystycznej jest etymologia paradoksu, począwszy od jego znaczeń związanych z przeciwstawianiem się doksie, rozumianej jako zbiór przyjętych przez ogół mniemań, po odczytanie paradoksu jako ‛bycia obok’ (para) ‛chwały’ (doxa). Oba zakresy semantyczne przenikają tkankę tekstów Weil, zarówno na pozi

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18

Schaplok, Galina A. ""Verblendungen" by Kaija Saariaho: from idea to implementation." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 15 (2023): 42–51. https://doi.org/10.17223/26188929/15/5.

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This article is dedicated to the work of the famous Finnish composer Kaia Saariaho. The subject of analysis is her composition «Verblendungen» synthesizing the most important characteristic aspects of the author's music. «Verblendungen» is a mixed electro-acoustic work created by the composer in the early 80s in the Paris studio IRCAM. The original concept of the composition is inspired by the idea of being blinded by light, which is reflected in the unusual form and dramatic development of the play. An additional factor in the originality of the composition is the reliance on a visual source

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19

Stein, Robert. "London, Proms 2012 (2): Olga Neuwirth, Kaija Saariaho." Tempo 67, no. 263 (2013): 73–75. http://dx.doi.org/10.1017/s0040298212001416.

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Postmodernism in music may be hard to define – even harder than the same notoriously slippery term in literature – but Olga Neuwirth's viola concerto Remnants of songs … an Amphigory (2009) may be as good an exemplar as any. Given its UK première on 13 August by the talented British violist Lawrence Power, with the Philharmonia Orchestra under Susanna Mälkki, the concerto's Proms appearance marks the first time the festival has put on any of her pieces.

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20

Collin, Kaija. "Työssä oppiminen – kokemuksellisuutta ja jaettuja käytäntöjä." Aikuiskasvatus 25, no. 2 (2005): 162–64. http://dx.doi.org/10.33336/aik.93625.

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Rita Asplund Elinkeinoelämän tutkimuslaitoksesta kritisoi vuoden 2004 lopulla Insinööri-lehdessä sitä, että erityisesti työssä oppimisen vaikuttavuudesta esitetään julkisuudessa väitteitä ja käsityksiä, mutta harvemmin voidaan tukeutua tutkimustietoon. Sama ongelma pätee aikuiselämässä hankitun koulutuksen ja osaamisen vaikuttavuuden tutkimukseen yleisemminkin, sanoo Kaija Collin väitöskirjansa lectiossa. – Artikkeli pohjautuu kirjoittajan väitöskirjaan Experience and shared practice : design engineers’ learning at work (Jyväskylän yliopisto 2005).

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21

Romero Ortiz, M. ª. Dolores. "Jardín japonés en Six Japanese Gardens de Kaija Saariaho." Quodlibet. Revista de Especialización Musical, no. 75 (June 22, 2021): 272–340. http://dx.doi.org/10.37536/quodlibet.2021.75.1458.

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La obra Six Japanese Gardens (1994) de la compositora finlandesa Kaija Saariaho (1952) es el objeto de estudio de esta investigación como obra significativa no solo en la producción de su autora sino también como visión finisecular de la aplicación de principios estéticos japoneses en obras musicales occidentales. Una orientación eminentemente analítica permite establecer que los principales fundamentos del jardín japonés (el vacío, la dualidad, la asimetría, la sencillez y la abstracción) se aplican en la composición tanto en la construcción y tratamiento del material como en lo referente a l

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22

Romero Ortiz, M. ª. Dolores. "Jardín japonés en Six Japanese Gardens de Kaija Saariaho." Quodlibet. Revista de Especialización Musical, no. 75 (June 22, 2021): 272–340. http://dx.doi.org/10.37536/quodlibet.2021.75.1458.

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La obra Six Japanese Gardens (1994) de la compositora finlandesa Kaija Saariaho (1952) es el objeto de estudio de esta investigación como obra significativa no solo en la producción de su autora sino también como visión finisecular de la aplicación de principios estéticos japoneses en obras musicales occidentales. Una orientación eminentemente analítica permite establecer que los principales fundamentos del jardín japonés (el vacío, la dualidad, la asimetría, la sencillez y la abstracción) se aplican en la composición tanto en la construcción y tratamiento del material como en lo referente a l

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23

Kiseyeva, Elena V., and Emma S. Korotkiyeva. "Interpretation of the Genre in Kaija Saariaho’s Opera Innocence." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 128–41. http://dx.doi.org/10.56620/2782-3598.2023.4.128-141.

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The idea of a renewal of the genre of opera has found its brilliant manifestation in numerous works written by some of the outstanding composers of our time: John Adams, Louis Andriessen, Tan Dun, Steve Reich, Philip Glass, John Cage, Kaija Saariaho and many others. Their works demonstrated transformations stipulated by transgressions of cause-and-effect relationships in their dramaturgy, inclusions of semantic abruptions interrupting the linearity of the narrative, as well as a rejection of the communicative function of words in favor of the musicality of their sound. In some compositions the

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24

De Felice, Chiara. "Kaija e Heikki Siren. Casa e padiglione a Lingonsö." Firenze Architettura 26, no. 1 (2022): 114–25. http://dx.doi.org/10.36253/fia-13940.

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Tutti gli elementi che costituiscono il cottage disegnato dai Siren sull’isola di Lingonsö mostrano le regole imposte all’edificio dalla Natura. Il basamento, recuperato dalla tradizione costruttiva, è l’elemneto che risolve il rapporto con il suolo e con il luogo. L’abilità dei progettisti trasforma questo elemento da funzionale a simbolico, rendendo la piastra il palco della vita quotidiana. Il padiglione rivela in modo sintetico lo stesso schema, dove il basamento disegna una linea orizzontale in continutà col mare e i confini dello spazio sono dati dalla Natura stessa. All the parts

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25

Weber, Sabine. "Grenzerfahrungen." Opernwelt 63, no. 4 (2022): 79. http://dx.doi.org/10.5771/0030-3690-2022-4-079.

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HOLGER FALK ist ein Spezialist für Neue Musik. Er war Lord Byron in «Diodati. Unendlich» von Michael Wertmüller, der wahnsinnige König in Peter Maxwell Davies’ «Eight Songs for a Mad King», der Dichter in Manfred Trojahns «Ein Brief» und der suizidale Troubadour in Kaija Saariahos «L’amour de loin». Im Mai verkörpert er an der Bayerischen Staatsoper den Titelhelden in «Thomas» von Georg Friedrich Haas

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26

Oliveira, Levy, and João Pedro Oliveira. "Procedimentos Estruturais na Peça A Twilight's Song de Matthias Pintscher." Per Musi, no. 40 (October 30, 2020): 1–19. http://dx.doi.org/10.35699/2317-6377.2020.15108.

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Este trabalho visa analisar os procedimentos estruturais da peça A Twilight’s Song do compositor alemão Matthias Pintscher. A análise terá enfoque em três aspectos: desenvolvimento motívico, articulação global da forma e exploração tímbrica. Utilizando como referência bibliográfica textos de Steve McAdams, Kaija Saariaho, Panayiotis Kokoras e o filme A Lesson by Pierre Boulez, almeja-se descobrir quais técnicas foram utilizadas pelo compositor para alcançar a plenitude formal da obra.

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27

Anderson, Julian, and Kaija Saariaho. "Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho." Musical Times 133, no. 1798 (1992): 616. http://dx.doi.org/10.2307/1002509.

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28

KANKAANPÄÄ, VESA. "Displaced time: transcontextual references to time in Kaija Saariaho's Stilleben." Organised Sound 1, no. 2 (1996): 87–92. http://dx.doi.org/10.1017/s1355771896000106.

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29

Lister, Rodney. "Boston: Saariaho's ‘Circle Map’." Tempo 67, no. 264 (2013): 74–75. http://dx.doi.org/10.1017/s0040298213000144.

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When the Royal Concertgebouw Orchestra wanted to commission Kaija Saariaho for a work to perform at the Westergasfabriek Gashoulder, a gasholder building restored as a performance space, it did so through a consortium including the Gothenburg Symphony Orchestra, the Orchestre National de France, the Royal Scottish National Orchestra, the Stavanger Symphony Orchestra, and the Boston Symphony. The Boston Symphony, conducted by Juanjo Mena, gave the first American performance of the work, entitled Circle Map, in Symphony Hall in November.

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30

Friks, Elvis. "Atgriešanās garša: Agates Nesaules romāns “Zudušie saulgrieži gastropoētikas aspektā." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 273–83. http://dx.doi.org/10.37384/aplkp.2023.28.273.

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The aim of the article is to research the construction of the neomythic world of the post-exile phenomenon in Agate Nesaule’s (1938–2022) novel “Lost Midsummers” (2018). The narrative of returning to a symbolic homeland through food and drink is described. Particular attention is paid to the post-exile narative, where exile and post-exile become a peculiar binary opposition in the structure of both works. Protagonists have been removed from their homeland (centre) one day to return from a foreign country (wanderings) to a symbolic home. In general, the work of prose actualizes trauma, nostalgi

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31

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 81, no. 2 (2024): 237–39. http://dx.doi.org/10.53830/sing.00089.

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Abstract: This article reviews the following four works by song composers of the twentieth and twenty-first centuries, two of whom created or finished their works during the COVID pandemic; Finnish composer Kaija Saariaho (1952–2023), Saarikoski Songs for Voice and Piano ; Albrecht Mendelssohn Bartholdy’s Songs for Lena (Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries) ; and Evan Fein’s “The Solitary Reaper,” and Songs of the Open Road , for mezzo-soprano, clarinet in B♭ and piano.

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32

Vriezen, Samuel. "Kaija Saariaho Only the Sound Remains, Dutch National Opera, Muziektheater, Amsterdam." Tempo 70, no. 277 (2016): 96–97. http://dx.doi.org/10.1017/s0040298216000255.

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Only the Sound Remains consists of two stories of supernatural encounters. A monk, praying for the soul of a deceased general, meets the latter's ghost, attracted by the sounds of the lute used in the monk's ritual. A fisherman finds the feather mantle belonging to a Tennin, an angelic spirit, who pleads with him to return the item, which he only does after she performs a celestial dance; thus, the chorus tells us, ‘was the dance of pleasure, Suruga dancing, brought to the sacred east’. Both encounters are evanescent: the ghost of the general is visited by memories of terrible battles and disa

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33

Potter, Caroline. "Kaija Saariaho - Kaija Saariaho: Graal Théâtre, Circle Map, Neiges, Vers toi qui es si loin. Peter Herresthal, violin/Oslo Philharmonic/Clément Mao-Takacs, conductor. BIS 2402." Tempo 74, no. 292 (2020): 89–90. http://dx.doi.org/10.1017/s0040298219001347.

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34

Heikkinen, Kaija. "Avioliiton ongelmallisuus sota- ja kotirintamalla." Väki Voimakas, no. 28 (November 2, 2023): 151–73. http://dx.doi.org/10.55286/vv.122909.

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    Kaija Heikkinen tarkastelee artikkelissaan kriittisesti kuvaa sota-ajan avioliitosta ja naiseudesta rintamalla olleiden naisten muistitiedon valossa. Hän kysyy, miten käsitykset ideaalista perheestä ja naiseudesta vaikuttivat rintaman sosiaalisessa todellisuudessa ja myös niitä koskevissa muistoissa. Heikkinen käsittelee erityisesti sotatoimialueella siviilityöpaikoissa työskennelleitä (työläis)naisia, jotka ovat jääneet sotaa koskevissa muistelukertomuksissa marginaaliin. Toisin kuin niin sanottuun työvelvolliseen liitetyt merkitykset väittävät, monet työläisnaiset

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35

Riikonen, Taina. "Shaken or stirred – virtual reverberation spaces and transformative gender identities in Kaija Saariaho's NoaNoa (1992) for flute and electronics." Organised Sound 8, no. 1 (2003): 109–15. http://dx.doi.org/10.1017/s1355771803001122.

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Kaija Saariaho's NoaNoa for flute and electronics consists of two materials: the live flute part and the electronic component, which can be further divided into real-time and pre-recorded material. The sound mixtures of live instrument, pre-recorded material, and real-time electronics create diverse instrumental positions, which also have effects on the musician's experiences of self and gender. This article examines the live flautist's embodied identity during the real-time reverberation and the pre-recorded part. Different performances of NoaNoa by different performers introduce diverse embo

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RIIKONEN, TAINA. "Shared sounds in detached movements: flautist identities inside the ‘local-field’ spaces." Organised Sound 9, no. 3 (2004): 233–42. http://dx.doi.org/10.1017/s1355771804000421.

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This article explores the spatial identities of the flautists in playing Kaija Saariaho's music with live electronics, particularly reverberation and harmonisation. The varying spatial position of the flautists are theorised mainly via two approaches: that of ‘local/field’ concepts by Simon Emmerson, and through the philosophy of narrative identity developed by Paul Ricoeur. The article investigates the flautists' experiences of control over the sound, and especially its most intimate form, direct control, by discussing the relationship between the choices of live flautist and the sound direct

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37

Sivuoja-Gunaratnam, Anne. "Miniatures and tensions: phenomenological reverberations in and around Kaija Saariaho's Lichtbogen (1985-86)." Articles 25, no. 1-2 (2012): 44–66. http://dx.doi.org/10.7202/1013305ar.

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The article studies miniatures in Kaija Saariaho's Lichtbogen for nine musicians and live electronics (1985-86). The research material consists of records, the score and composer's interviews and articles. Methodologically, the article is based on Gaston Bachelard 's phenomenology (The Poetics of Space) and Denis Smalley's "Spectromorphology." Miniatures are subtle spatio-temporal constellations, which require a non-global listening strategy, or an "aural magnification glass" in order to be perceived. In Saariaho's case, these miniatures are often imbued with musical tension, which reverberate

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38

Włodarska-Frykowska, Agata. "Estonia jest kobietą – Kaja Kallas, żelazna dama estońskiej polityki." Przegląd Politologiczny, no. 2 (July 30, 2024): 89–97. http://dx.doi.org/10.14746/pp.2024.29.2.7.

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The aim of the article is to analyse the political situation in Estonia at the time of Prime Minister Kaja Kallas. Kallas, as a young, dynamic and ambitious lawyer, and now primarily a politician, sets a new direction for leadership. There are many challenges and difficulties on the Estonian political scene, but Kaja Kallas has been successful to carry out her tasks since January 2021. The article is an attempt to analyse the situation on the Estonian political scene from the time of the first cabinet of Kaija Kallas, through the government crisis of June 2022, to the parliamentary elections o

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39

Gotcheva, Angelina-Ogniana. "The True Sense оr to My Only Desire: The Music as a Reason for Sun Reflections". Filosofiya-Philosophy 33, № 1 (2024): 93–105. http://dx.doi.org/10.53656/phil2024-01-05.

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The article presents musicological and existentialist philosophical discourses on renaissance and baroque structures in the works of two contemporary classical composers. The existentialist point of view is imposed due to the examination of contemporary music works in which historically conditioned practices are also found. Being and Time and Introduction to Metaphysics by Martin Heidegger serve as a starting point for the reflections. The two works D’Om Le Vrai Sens by Kaija Saariaho and Concerto Grosso “Sun Reflections” by Yordan Goshev are stylistically very different but the first bears re

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40

Cagney, L. "Kaija Saariaho: Visions, Narratives, Dialogues. Ed. by Tim Howell, Jon Hargreave, and Michael Rofe." Music and Letters 95, no. 3 (2014): 493–95. http://dx.doi.org/10.1093/ml/gcu052.

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41

Howell, Tim. "OUT OF THE SHADOWS AND SILENCES: THE LOTTA WENNÄKOSKI IN PROFILE." Tempo 66, no. 259 (2012): 2–14. http://dx.doi.org/10.1017/s0040298212000010.

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AbstractThe sheer quantity and diversity of music being written in Finland today continues to surprise and delight us. But one significant strand in this otherwise egalitarian success story has remained in the shadows: the role of women composers. Kaija Saariaho appears to be the only such figure to hold a truly international reputation, raising basic questions: why should this be so, how are things changing and what kind of music is being produced. Outlining social and political issues that are distinctive to Finland helps to explain the emergence of Saariaho as a role model for younger women

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Skhaplok, Galina. "ON THE REALIZATION OF NOANOA AND PRES, TWO PIECES FOR SOLO INSTRUMENTS AND IRCAM SIGNAL PROCESSING WORKSTATION (Xavier Chabot, Kaija Saariaho, Jean-Baptiste Barrière)." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 12 (2021): 73–82. http://dx.doi.org/10.17223/26188929/12/7.

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This article is a translation of a musicological work written by the Finnish composer Kaia Saariaho with sound engineers Xavier Chabot and Jean-Baptiste Barrière from the Ircam. The study describes two solo pieces – «NoaNoa» and «Près» – one for flute, the other for cello, realized during 1992 by Kaija Saariaho with the Ircam Signal Processing Workstation (ISPW, based on the Next computer) and with Xavier Chabot from the Ircam Pedagogy department. These works are created in the pedagogical perspective to explore the potentialities of Max on the ISPW, and specially its connexion with Patchwork

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Peraino, Judith A. "Sonograms of Desire, Medieval and Modern." Paragraph 41, no. 1 (2018): 26–41. http://dx.doi.org/10.3366/para.2018.0248.

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This essay unites musicology's concern with the discursive force of organized sound, and sound studies' concern with the discursive force of sonic environments, recording formats and media networks, to consider how the widely transmitted medieval song ‘Lanqan li jorn son lonc en mai’ attributed to Jaufre Rudel produces sonograms that map distance and desire in the chasm between the Islamic East and the Christian West. The first half of the essay examines ‘Lanqan li jorn son lonc en mai’ in the context of transcultural sound networks, medieval notions of global geography and the material format

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van, Herck. "Spatiality as creativity in the music of Kaija Saariaho: A reflection with a focus on 'Lichtbogen'." Zbornik Akademije umetnosti, no. 9 (2021): 155–73. http://dx.doi.org/10.5937/zbaku2109155h.

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In this article Saariaho's music - with a focus on Lichtbogenis explored from the perspective of spatiality. First, Saariaho's connection with Finland is discussed and in particular how Finnish space and time have influenced her music.Together with space, there is the relation between time and light. In fact, the creative process by Saariaho is strongly influenced by visual experiences. The title of Lichtbogen refers to the Nordic lights, and therefore it is an interesting example. In her article on similarities between architecture and music, Saariaho defines with great clarity her music: "Ca

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Campion, Edmund. "Dual Reflections: A Conversation with Kaija Saariaho and Jean-Baptiste Barrière on Music, Art, and Technology." Computer Music Journal 41, no. 3 (2017): 9–20. http://dx.doi.org/10.1162/comj_a_00426.

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Fernández Villalobos, Nieves, and Andrés Jiménez Sanz. "La disolución de los límites en el espacio religioso. La Capilla del Bosque de Heikki y Kaija Siren." Estoa 10, no. 19 (2021): 21–32. http://dx.doi.org/10.18537/est.v010.n019.a02.

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Los arquitectos finlandeses, Heikki y Kaija Siren, levantaron en 1957 una pequeña capilla en el Campus Tecnológico de Otaniemi, expresando los vínculos nórdicos con el paisaje bajo las consignas del racionalismo naturalista. Crearon un espacio de intimidad, en medio de la naturaleza, donde los fieles pudieran ahondar en su interior. La capilla que Erik Bryggman había construido anteriormente para el Cementerio de Turku, con su paño de vidrio lateral, les sirvió de referencia imprescindible y en el desarrollo de su proyecto, los Siren fueron modificando la apertura hacia el paisaje hasta llegar

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GOTCHEVA, Angelina-Ogniana. "The Position of Women Composers in the World and in Bulgaria – is the Audience of Contemporary Classical Music Privileged or Deprived?" Balkanistic Forum 32, no. 3 (2023): 290–308. http://dx.doi.org/10.37708/bf.swu.v32i3.17.

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The article addresses the issue of discrimination against women in their work field, which is still relevant today. It contains an overview of the historical development of women in the composers’ profession around the world and in Bulgaria, as well as an outline of the difficulties and accomplishments of famous women composers. The obstacles in the work realization of world-renowned women composers are sought: the Finnish composer Kaija Saariaho, the Soviet/Tatar composer Sofia Gubaidulina and the Bulgarian composer Julia Tsenova. An overview of annual statistics on the presence of women comp

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Rickards, Guy. "Kaija Saariaho: Visions, Narratives, Dialogues. Edited by Tim Howell with John Hargreaves and Michael Rofe. Ashgate, £55.00." Tempo 67, no. 265 (2013): 95–97. http://dx.doi.org/10.1017/s0040298213000612.

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Pousset, Damien, Joshua Fineberg, and Ronan Hyacinthe. "The works of Kaija Saariaho, Philippe Hurel and Marc-André Dalbavie—Stile concertato, stile concitato, stile rappresentativo." Contemporary Music Review 19, no. 3 (2000): 67–110. http://dx.doi.org/10.1080/07494460000640371.

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Anderson, Martin. "London, Barbican: Saariaho's ‘L'amour de loin’." Tempo 57, no. 224 (2003): 42–43. http://dx.doi.org/10.1017/s0040298203220155.

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Kaija Saariaho's opera L'amour de loin – her first – was completed in 2000 and given its first production at the Salzburg Festival that year; it toured to Paris in late 2001 and to Santa Fe in 2002; it has also been staged in Darmstadt. Its concert presentation at the Barbican on 21 November was thus the first performance without the support of stage business – and, not having seen those earlier productions, one wonders how it can have been staged at all: the work is a drama-less, interiorized dreamscape-cum-ritual which proceeds in the imaginations of its symbolic characters. Those are the tr

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