Relevant bibliographies by topics / Saariaho

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Saariaho'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Saariaho"

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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: "Capturing time and giving it form." In this phrase she connects the aspect of time and space with musical form. Understanding how Saariaho'sconception of musical form brings the concept of a multidimensional network to the discussion. Saariaho developed this concept for Verblendungen, and the same principle has been used for an analysis of Lichtbogen. This analysis is not a score analysis, instead, it is based on the listening experience of several recordings. As Saariaho is concerned with the perception of her music, a listening-based graphic analysis is proposed based on listening. It captures an illuminating perspective on the form of Lichtbogen. Given the importance of timbre in Saariaho's music, and the way how timbre and form are connected, the question of her relation with spectral music is unavoidable. Saariaho lived in Paris during the '80s, when early spectralism made important developments. And her music is indeed deeply influenced by the spectral approach in many ways. However, there are differences, especially regarding her attitude towards musical form. Finally the discussion about space is taken to the perspective of electronics and how they contribute to the expression of space. In Lichtbogen, the amplification is used to make those sounds on the threshold of audibility audible, and the reverb is used to create virtual spaces. The concept of space is integrated in the composition itself. In conclusion, the concept of space is central to Saariaho's creativity. This connection is approached in this article from various perspectives.It illustrates how important the space is, in connection with time and light, in Saariaho'scompositional work.
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Gray, Mary W. "Émilie by Kaija Saariaho." Mathematical Intelligencer 38, no. 4 (October 19, 2016): 84–85. http://dx.doi.org/10.1007/s00283-016-9642-5.

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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 (December 31, 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 epistemology of nomadic transitions by BRAIDOTTI (1991, 1994). I claimed that Saariaho has negotiated her gender not “within” the male-dominated system but “with” it, defining a new gender subject position: the position of the nomadic subject.
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Munk, J. "Kaija Saariaho. By Pirkko Moisala." Music and Letters 92, no. 1 (February 1, 2011): 174–76. http://dx.doi.org/10.1093/ml/gcq096.

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Stein, Robert. "Proms 2004: Adams, Corigliano, Saariaho." Tempo 59, no. 231 (January 2005): 45–47. http://dx.doi.org/10.1017/s0040298205260059.

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Like its predecessors Nixon in China and The Death of Klinghoffer, the third opera in John Adams's trilogy, Doctor Atomic, seems set fair to juxtapose modern political forces, personalities and moral debate. Here admiration for Robert Oppenheimer and his fellow geniuses who created the atomic bomb is contrasted with the enormity of destruction wreaked on Hiroshima. With over a year to go to the opera's world première by San Francisco Opera, the composer himself conducted Easter Eve 1945, the opening of Act 2, at the Albert Hall on 22 August with the BBC Symphony Orchestra and Audra McDonald as soloist.
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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 the analysis which is performed according to ideas of Saariaho expressed in her theoretical articles. One of the most interesting ideas about music form proposed by the composer is the idea of “polyphony of processes”, which means that different parameters of composition are realized in different schemes that do not intersect but act as separate phenomena creating an impression of both independence of the parameters and their interaction at the same time. Such parameters as rhythm, melodic ideas, application of text, tempos, textures and their combinations as well as orchestration and harmony have their own profile and are constructed according to different schemes. Besides music itself, a text by Saariaho written for the premiere of the piece is analysed and interpreted as a special case of a “composer’s vision” which shows specific angles in the author’s perception.
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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 poziomie języka pełnego sprzeczności, jak i na poziomie rozważanej idei kenozy – największego paradoksu teologicznego, zasadzającego się na zderzeniu boskiej natury Chrystusa z pozbawieniem Go chwały w momencie Ukrzyżowania. Język muzyczny Saariaho wyzyskuje weilowskie sprzeczności, zestawiając ze sobą kontrastowe masy brzmień. Zamienia także muzyczny czas na wrażenie muzycznej przestrzeni oraz w sposób paradoksalny naśladuje dźwiękami ciszę.
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Howell, Tim. "OUT OF THE SHADOWS AND SILENCES: THE LOTTA WENNÄKOSKI IN PROFILE." Tempo 66, no. 259 (January 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 composers. It also invites a detailed case study of a leading member of this generation: Lotta Wennäkoski. This focus on an analytical reading of Wennäkoski's compositional process – as evidenced through her orchestral piece Sakara (2003) – reveals how this music communicates so effectively with contemporary audiences.
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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 used to prepare data and patches. In the two pieces, the electronic parts amplify and develop the sonic structure of the solo instrument, exemplify the close relationship between sound material and musical structure, and explore real-time strategies for control over various synthesis and signal processing algorithms.
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Sivuoja-Gunaratnam, Anne. "Desire and distance in Kaija Saariaho's Lonh." Organised Sound 8, no. 1 (April 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 at the very beginning. In their succeeding encounters, the lovers move further away from each other. Similarly, in the course of Lonh the distance to Jaufré's song also increases. Luce Irigaray's concepts of love are used for an analysis of the relationship of the loving pair. By the end of Lonh the borderlines of speaking, singing, electronics, language and music collapse in Barthesian jouissance (bliss). The electronic technology in Lonh enables the re-investiture of cultural values, and the construction of flexible identities, crossing boundaries between the self and the other.
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Dissertations / Theses on the topic "Saariaho"

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Medine, David. "Bach, Ligeti, Saariaho, and Pisaro a recital /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464864.

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Thesis (M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the recital, PDF text of thesis, and PDF file with recital program.
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Zerbinatti, Camila Durães. "Sept Papillons, de Kaija Saariaho : análise musical e aspectos da performance." Universidade do Estado de Santa Catarina, 2015. http://tede.udesc.br/handle/handle/1561.

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This dissertation presents a musical analysis and discusses some interpretative aspects of the piece Sept Papillons (2000) for solo cello, by the Finnish composer Kaija Saariaho (1952). A broad contextualization is presented in which we approached the composer s history, its main compositional characteristics, its aesthetic influences, the inter-relations between subjectivity and music making in her work, her gendered position in music and the importance of personal collaborations on the developing of her cello work. Musical analysis is preceded by the context of the piece, its situation on the cello repertoire, its influences and main characteristics. Due to the predominant use of natural harmonics a transcription of the original score is displayed. Musical analysis is then presented through the approach of formal and structural aspects. Research on the pitch, rhythmic, texture, timbral, gestures, instrumental and visual (metaphorical) dimensions of the piece is presented. Relations are established between the Sept Papillons building and Saariaho´s compositional processes. Technical and interpretative aspects of Sept Papillons performance and practice are addressed in dialogue with texts by performers and musicologists that work with her works and also through five interviews with cellists who have been played Sept Papillons in high level performances and recordings. It is observed the place of the body in music performance, on the sophisticated coordination on instrumental actions necessary for the performance. It is seen that Saariaho expands both the cello technique and the cello writing. Our work is justified by the contributions made to the field of knowledge on Kaija Saariaho, on analysis and performance of the contemporary repertoire, and on cello technique and cello music.
Esta dissertação apresenta uma análise musical e aborda alguns aspectos interpretativos da peça Sept Papillons (2000) para violoncelo solo, da compositora finlandesa Kaija Saariaho (1952). É apresentada uma ampla contextualização da compositora na qual abordamos sua trajetória, suas principais características composicionais, suas influências estéticas, as inter-relações entre subjetividade e fazer musical em sua obra, sua condição de gênero na música e a importância de colaborações pessoais no desenvolvimento de sua obra para violoncelo. A análise musical é precedida pela contextualização da peça, sua localização no repertório violoncelístico, suas influências e principais características. Por conta do predominante uso de harmônicos naturais uma transcrição da partitura original é apresentada. A análise musical é então realizada através da abordagem de aspectos formais e estruturais da investigação da dimensão das alturas, das dimensões rítmica, textural, tímbrica, gestual, instrumental e imagética (metafórica). São estabelecidas relações entre a construção de Sept Papillons e os processos composicionais de Saariaho. Aspectos técnicos e interpretativos da performance de Sept Papillons são abordados, em diálogo com textos de intérpretes e musicólogos (as) que trabalham com as obras da compositora e também através de cinco entrevistas realizadas com intérpretes que já apresentaram Sept Papillons em performances e gravações de alta qualidade. É observado o lugar do corpo na performance, na coordenação de sofisticadas ações instrumentais necessárias e também de que forma Saariaho expande a técnica e a escrita violoncelística. Nosso trabalho se justifica pelas contribuições oferecidas ao campo de conhecimento sobre Kaija Saariaho, sobre análise e performance do repertório contemporâneo e sobre técnica e interpretação do violoncelo.
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Nable, Frederico Arantes. "Sept Papillons de Kaija Saariaho: uma an?lise dos elementos t?cnico-interpretativos." Universidade Federal do Rio Grande do Norte, 2015. http://repositorio.ufrn.br/handle/123456789/20199.

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A pe?a Sept Papillons de Kaija Saariaho ? considerada uma obra de destaque na produ??o atual para violoncelo. O presente trabalho busca contextualiz?-la e oferecer reflex?es sobre as dificuldades t?cnicas encontradas em seu estudo, discorrendo tamb?m sobre conceitos importantes para a interpreta??o. Como procedimento metodol?gico foram estudados autores como MOISALA (2009) e VICTORIO (2015) que d?o fundamenta??o ao entendimento do processo composicional e ? an?lise dos gestos propostos pela compositora. Em um segundo momento foi realizada uma entrevista com Natasha Farny, uma violoncelista reconhecida por sua performance da obra, a qual utilizamos como refer?ncia junto ? performance da coreana Seung Ri Jung e a grava??o do violoncelista Anssi Karttunen, a quem foi dedicada a pe?a. Concomitantemente ao estudo do material bibliogr?fico e realiza??o das entrevistas, a pe?a foi trabalhada e apresentada no ?mbito do PPGMUS-UFRN. A experi?ncia obtida pelos recitais e pela pesquisa da obra resultou em sugest?es para violoncelistas interessados no estudo e na performance da mesma.
Sept Papillons by Kaija Saariaho is a relevant piece in the contemporary cello repertoire. This research aims to study the context of the piece and approaches the technical and musical challenges presented in the work. As a methodological procedure, authors like MOISALA (2009) and VICTORIO (2015) were studied, giving basis to the understanding of the compositional process and to the analysis of the gestures proposed by the composer. Following, an interview was carried out with Natasha Farny, a cellist recognized for her performance of the work and utilized as reference, together with the Korean cellist Seung Ri Jung?s performance and the recording of Anssi Karttunen, to whom the piece was dedicated. Whilst the research of the bibliographical material and the interviews were taking place, the piece was studied and performed at the Masters of Music Program at UFRN. The experience obtained by the recitals and the research resulted in suggestions for cellists interested in its study and performance.
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Chou, Chao-Chiun. "Giacinto Scelsi, Gérard Grisey et Kaija Saariaho : Trois esthétiques à partir du son." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080005.

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Cette thèse étudie trois compositeurs reliés autour du courant « musiquespectrale » dont les pensées et les oeuvres sont fortement marquées dans un premiertemps par la prise de conscience de la nature « dynamique » du son : Giacinto Scelsi,Gérard Grisey et Kaija Saariaho, trois compositeurs représentant trois périodesdifférentes dans l’histoire du courant spectral. Dans leurs oeuvres et leurs écritsthéoriques, plusieurs questions s’élèvent ou dérivent de la conception « énergétique »du matériau et dépassent le simple cadre de celui-ci : la perception, la forme, le tempsmusical, l’expressivité, le rapport à la tradition, etc. Plus généralement, une questionessentielle se pose : qu’est-ce qui existe au-delà du son, au-delà de l’énergie àl’intérieur du son ?Pour répondre à cette question, cette recherche se base sur des analyses deplusieurs oeuvres de ces trois compositeurs tout en gardant à l’esprit la conceptionadornienne du matériau qui met en cause l’idée « naturaliste » de celui-ci et l’idée du« son » isolé comme auto-suffisant. Plusieurs catégories, comme « médiation »,« articulation », « tradition », « histoire », « culture/nature », entrent en jeu. Ainsi,cette étude est parvenue à mettre en relief trois différentes « esthétiques » qui sedéveloppent à partir d’une base commune de « l’énergie sonore » comme porteuse dela forme musicale — l’esthétique de l’énergie sonore, l’esthétique du processus, etl’esthétique de l’expression, trois esthétiques qui semblent montrer une évolution versune « interpénétration de l’énergétique et de la sémiotique »
This thesis studies three composers connected around the "spectral music" andwhose thoughts and works are strongly marked at first by the awareness of the"dynamic" nature of sound: Giacinto Scelsi, Gérard Grisey and Kaija Saariaho, threecomposers representing three different periods in the history of the spectral current. Intheir works and their theoretical writings, several questions arise or derive from the"energetic" conception of the material and go beyond the framework of the material:perception, form, musical time, expressivity, relation to the tradition, etc. Moregenerally, an essential question arises: what exists beyond the sound, beyond theenergy within the sound?To answer this question, this research analyses several works by the threecomposers while keeping in mind the adornian conception of material whichquestions the "naturalist" idea of material and the idea of an isolated sound as selfsufficient.Several categories, such as "mediation", "articulation", "tradition","history", "culture / nature" come into play. Thus, this study has managed to highlightthree different "aesthetics" that develop from a common base of "sound energy" as thebearer of musical form — the aesthetics of sound energy, the aesthetics of process,and the aesthetics of expression, three aesthetics that seem to show an evolutiontowards an "interpenetration of the energetics and the semiotics"
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Chou, Chao-Chiun. "Giacinto Scelsi, Gérard Grisey et Kaija Saariaho : Trois esthétiques à partir du son." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080005.

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Cette thèse étudie trois compositeurs reliés autour du courant « musiquespectrale » dont les pensées et les oeuvres sont fortement marquées dans un premiertemps par la prise de conscience de la nature « dynamique » du son : Giacinto Scelsi,Gérard Grisey et Kaija Saariaho, trois compositeurs représentant trois périodesdifférentes dans l’histoire du courant spectral. Dans leurs oeuvres et leurs écritsthéoriques, plusieurs questions s’élèvent ou dérivent de la conception « énergétique »du matériau et dépassent le simple cadre de celui-ci : la perception, la forme, le tempsmusical, l’expressivité, le rapport à la tradition, etc. Plus généralement, une questionessentielle se pose : qu’est-ce qui existe au-delà du son, au-delà de l’énergie àl’intérieur du son ?Pour répondre à cette question, cette recherche se base sur des analyses deplusieurs oeuvres de ces trois compositeurs tout en gardant à l’esprit la conceptionadornienne du matériau qui met en cause l’idée « naturaliste » de celui-ci et l’idée du« son » isolé comme auto-suffisant. Plusieurs catégories, comme « médiation »,« articulation », « tradition », « histoire », « culture/nature », entrent en jeu. Ainsi,cette étude est parvenue à mettre en relief trois différentes « esthétiques » qui sedéveloppent à partir d’une base commune de « l’énergie sonore » comme porteuse dela forme musicale — l’esthétique de l’énergie sonore, l’esthétique du processus, etl’esthétique de l’expression, trois esthétiques qui semblent montrer une évolution versune « interpénétration de l’énergétique et de la sémiotique »
This thesis studies three composers connected around the "spectral music" andwhose thoughts and works are strongly marked at first by the awareness of the"dynamic" nature of sound: Giacinto Scelsi, Gérard Grisey and Kaija Saariaho, threecomposers representing three different periods in the history of the spectral current. Intheir works and their theoretical writings, several questions arise or derive from the"energetic" conception of the material and go beyond the framework of the material:perception, form, musical time, expressivity, relation to the tradition, etc. Moregenerally, an essential question arises: what exists beyond the sound, beyond theenergy within the sound?To answer this question, this research analyses several works by the threecomposers while keeping in mind the adornian conception of material whichquestions the "naturalist" idea of material and the idea of an isolated sound as selfsufficient.Several categories, such as "mediation", "articulation", "tradition","history", "culture / nature" come into play. Thus, this study has managed to highlightthree different "aesthetics" that develop from a common base of "sound energy" as thebearer of musical form — the aesthetics of sound energy, the aesthetics of process,and the aesthetics of expression, three aesthetics that seem to show an evolutiontowards an "interpenetration of the energetics and the semiotics"
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Allen, John Clay. "An Analysis of Du cristal…à la fumée by Kaija Saariaho and Axiom Unearthed, Original Composition." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc799510/.

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Beginning in the 1970s, and aided by the advancement and an increased prevalence of computers, spectral music emerged as an important development in twentieth century music. Spectral composers, as exemplified by Gérard Grisey and Tristan Murail, took the harmonic spectra of sounds as the fundamental materials of composition. The resulting music placed an emphasis on texture and gradually evolving forms. The generation of composers immediately following the spectralists assimilated their techniques into distinct and varying styles. Finnish composer Kaija Saariaho uses spectral techniques to create an aesthetic that generates form and progression from a sound/noise axis. In her piece Du cristal…à la fumée, a number of pendulum and half-pendulum gestures build up texture and form. The accompanying original composition Axiom Unearthed employs similar pendulum gestures and uses spectral techniques to generate melody and harmony in an aesthetic divergent from traditional spectral pieces.
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Madar, Armaan. "Kaija Saariaho’s Quatre Instants from a pianist’s point of view : an interpretation of the song cycle." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3630.

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The purpose of this study is to examine Kaija Saariaho's song cycle Quatre Instants for soprano and piano and to present a possible interpretation of it. I have made an analysis of the song cycle, which focuses mainly on the relation between the song text and the piano part. This has led to forming a detailed interpretation of the song cycle. The study contains also Saariaho's biography in order to support the analysis with background information. Both the background information and the analysis have immensely influenced upon my interpretation of the song cycle.

The sounding part of the work consists of the following recording: ljud. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording is archived and may be supplemented. 

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Diaz, Garcia Maria Mercedes. "The Shaping of Time in Kaija Saariaho's Émilie: a Performer's Perspective." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1579431479557928.

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Roiko-Jokela, Miia. "Laconisme de l’aile : Exploring modern flute techniques." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3182.

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This thesis introduces the modern flute techniques used in the solo flute piece Laconisme de l’aile by Kaija Saariaho. The purpose is to find ways to excecute the techniques so that they serve the music in the best way. The techniques are divided in five groups based on how they are excecuted: effects made with the mouth, changing the timbre, multiphonics, effects made by fingers and diffenent sounds by blowing. As an attachment there is a recording of the piece and how the techniques sound in the context. At the end of the process it has been evaluated, if the modern techniques help with the ordinary flute playing as well.

A recording of Laconisme de l'aile by Kaija Saariaho

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Babin, Armelle. "Ecrire un opéra au XXIe siècle : la démarche sensitive de George Benjamin." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0108.

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En considérant que la perception de la musique est pluri sensorielle, nous nous interrogeons sur l’espace qui se crée entre l’œuvre musicale et l’auditeur, défini comme une sorte de membrane ou de peau qui réagit de manière sensible. Nous pensons avoir décelé cet espace dans la rencontre particulière entre musique, texte et mise en scène à l’opéra, rencontre qui interpelle nos sens et agit aussi sur notre mémoire. Après avoir défini dans un premier temps ce que peut être le sens-sensible de l’art et de la musique, nous montrerons ensuite comment la démarche sensitive ou sensible est au cœur de la création lyrique contemporaine, à travers les opéras de Philippe Boesmans, Peter Eötvös, Kajia Saariaho et Ana Sokolović, et plus particulièrement dans Written on Skin de George Benjamin.Créé en 2012, cet opéra s’inspire de la légende médiévale du Cœur mangé. Martin Crimp, l’auteur du texte de Written on Skin, imagine trois anges contemporains ramenant à la vie un riche propriétaire et son épouse Agnès. L’un des anges devient enlumineur : il s’installe chez le propriétaire pour lui confectionner un livre, écrit sur la peau. Agnès s’y intéresse… Texte et musique mettent en jeu un véritable système organique et vivant qui interfère avec les sens et mobilise la mémoire. Comme dans toute histoire relationnelle, il y est question du désir, celui qui s’inscrit sur notre peau
Our perception of music being multi-sensory, we wonder about the space arising between the musical work and the listener, which can be defined as a kind of responsive membrane or skin. We may have detected that space in the peculiar way music, text and staging interact in opera, thus both addressing our senses and acting upon our memory.We will first define the sensitive sense of art and music, then demonstrate how such a sensitive or responsive approach is at the core of contemporary lyrical creations such as Philippe Boesmans’, Peter Eötvös’, Kajia Saariaho’s and Ana Sokolović’s operas, and most notably in George Benjamin’s Written on Skin.Created in 2012, this opera was inspired by the medieval legend of the Eaten Heart. Martin Crimp, author of the text of Written on Skin, imagines three contemporary angels bringing back to life a wealthy landlord and his wife Agnès. One of the angels becomes an illuminator: he gets himself settled at the landlord’s to work on a book which will be written on the skin. Agnès is interested in it ... Text and music bring into play a real living organic system that interferes with the senses and mobilizes one’s memory. As in any relational history, it is about desire, the one that gets written on our skin
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Books on the topic "Saariaho"

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Risto, Nieminen, and IRCAM (Research institute : France), eds. Kaija Saariaho. Paris: IRCAM-Centre Georges Pompidou, 1994.

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1960-, Winterfeldt Susanne, ed. Kaija Saariaho. Berlin: Musikfrauen e.V., 1991.

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Martha, Brech, and Mäkelä Tomi, eds. Topics, texts, tensions: Essays in music theory on Paavo Heininen, Joonas Kokkonen, Magnus Lindberg, Usko Meriläinen, Einojuhani Rautavaara, Kaija Saariaho & Aulis Sallinen. Magdeburg: Otto-von-Guerike-Universität, 1999.

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Tapio, Osala, ed. Vaasan saaristo. 2nd ed. Vaasa: O&G Kustannus, 1987.

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Kaija, Saariaho, ed. Elektronisia unelmia: Kirjoituksia Kaija Saariahon musiikista. Helsinki: Yliopistopaino, 2005.

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Hautsalo, Liisamaija. Kaukainen rakkaus: Saavuttamattomuuden semantiikka Kaija Saariahon oopperassa. Helsinki: Suomen Musiikkitieteellinen Seura, 2008.

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Holmroos, Altti. Saaria, satamia & saaristolaisia. [Turku]: Turunmaan Meripelastusyhdistys, 2001.

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Kauppi, Lasse. Saaristo-Suomen matkailupalvelujen sijainti ja kehittämistarve. Turku: [Turun yliopiston Maantieteen laitos], 1990.

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Andersson, Harri. Lounais-Suomen saaristo: Valtakunnallisten alueidenkäyttötavoitteiden näkökulmasta. Helsinki: Ympäristöministeriö, 1998.

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Saariaho, Kaija, and Pekka Hako. Aistit, uni, rakkaus: Kaksitoista katsetta Kaija Saariahoon. Helsinki: Lurra Editions, 2012.

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Book chapters on the topic "Saariaho"

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Stephan, Ilja. "Saariaho, Kaija." In Komponisten Lexikon, 520–21. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_262.

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Everett, Yayoi Uno. "Pianto as a topical signifier of grief in contemporary operas by John Adams, Thomas Adès, and Kaija Saariaho." In The Routledge Handbook of Music Signification, 333–44. [1.] | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-29.

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"Saariaho – Susa." In Opern-Diskographie, 675–81. K. G. Saur, 2008. http://dx.doi.org/10.1515/9783110955965.675.

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Johnson, Julian. "Thinking in sound." In After Debussy, 259–82. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190066826.003.0010.

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Debussy’s music is discussed in terms of its logic of sensation (Deleuze) and the ways of being it affords, rather than for any discursive logic of propositions. Composers think in and through sounds; they do not transpose other things into sound. Saariaho’s ‘grammar of dreams’ signals a concern with a different kind of musical logic – what Adorno called a ‘musique informelle’. ‘Jeux de vagues’, the central movement of Debussy’s La mer, provides a key focus, though music by Dutilleux and Saariaho is also explored to demonstrate the allusive logic of this musical repertoire. The chapter examines how this music constitutes ‘a new epistemology’ (Dufourt), an embodied knowing of the world inscribed in the details of musical works.
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Saariaho, Kaija, and Tom Service. "Meet the Composer." In Kaija Saariaho: Visions, Narratives, Dialogues, 3–14. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-1.

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March, Daniel. "From the Air to the Earth: Reading the Ashes." In Kaija Saariaho: Visions, Narratives, Dialogues, 15–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-2.

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Oskala, Anni. "Dreams about Music, Music about Dreams." In Kaija Saariaho: Visions, Narratives, Dialogues, 41–60. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-3.

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Riikonen, Taina. "Stories from the Mouth: Flautists, Bodily Presence and Intimacy in Saariaho's Flute Music." In Kaija Saariaho: Visions, Narratives, Dialogues, 63–80. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-4.

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Rofe, Michael. "Capturing Time and Giving it From: Nymphéa." In Kaija Saariaho: Visions, Narratives, Dialogues, 81–105. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-5.

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Hautsalo, Liisamaija. "Whispers from the Past: Musical Topics in Saariaho's Operas." In Kaija Saariaho: Visions, Narratives, Dialogues, 107–29. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-6.

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Conference papers on the topic "Saariaho"

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Saamishvili, Natalia. "Some Features of Libretto and Musical Composition in “L’amour de loin” by Kaija Saariaho." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.132.

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