Relevant bibliographies by topics / Saariaho, kaija

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Saariaho, kaija'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Saariaho, kaija"

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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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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Saariaho, kaija"

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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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Made available in DSpace on 2016-12-08T17:06:47Z (GMT). No. of bitstreams: 1 122589.pdf: 1721483 bytes, checksum: 40c586c4f8cab8d2fc6ce42449d38024 (MD5) Previous issue date: 2015-03-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>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
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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,
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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,
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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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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5)<br>Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-07T00:07:52Z (GMT) No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5)<br>Made available in DSpace on 2016-04-07T00:07:52Z (GMT). No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b0
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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 cre
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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.<br><p>The sounding part of the
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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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Nicholas, Jeffrey Francis. "Masks." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459629154.

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Oskala, Anni Katariina. "The voice in Kaija Saariaho's Music 1977-2000." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491077.

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This thesis examines the use of the voice in Kaija Saariaho's works composed between the years 1977 and 2000, including her first opera L 'Amour de loin (2000). The term 'voice' refers to all live, recorded and/or processed vocal sounds and synthesised sounds modelled on vocal timbres.
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"A Performer's Guide to the Solo Flute Works of Kaija Saariaho: Laconisme de l'aile and NoaNoa." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17976.

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abstract: The works of premier Finnish composer Kaija Saariaho demonstrate a fascination with the exploration and expansion of timbral possibilities. This project explores Laconisme de l'aile and NoaNoa, the only two of her works written for solo C-flute. Saariaho has developed a unique compositional style for the flute, characterized by extremes of color which are expressed through extended techniques such as the integration of the voice, with and without text, into the music, the exploration of "noise," the transformation between different timbres, and the use of electronic effects. Laconism
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Books on the topic "Saariaho, kaija"

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

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1960-, Winterfeldt Susanne, ed. Kaija Saariaho. 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. Otto-von-Guerike-Universität, 1999.

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

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

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

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Moisala, Pirkko. Kaija Saariaho. University of Illinois Press, 2010.

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Kaija Saariaho. University of Illinois Press, 2009.

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Kaija Saariaho. University of Illinois Press, 2014.

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Kaija Saariaho: Visions, Narratives, Dialogues. Taylor & Francis Group, 2017.

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Book chapters on the topic "Saariaho, kaija"

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

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Schweitzer, Benjamin. "Kaija Saariaho in and between Finnish and European cultural spheres." In Baltic Peripeties. V&R unipress, 2025. https://doi.org/10.14220/9783737017008.257.

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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. Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-29.

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McClary, Susan. "Kaija Saariaho, Mater." In Making Sense of Music. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197779798.003.0019.

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Abstract The late composer Kaija Saariaho engaged with images of mothers in several of her most important works. Defying those who believed she was trivializing her art by dealing with mothers, she offered dramatic struggles of a woman bearing a child conceived in rape (Adriana Mater), a woman intellectual realizing that she would die in childbirth (Émilie), and a woman whose daughter had died in a mass shooting (Innocence). In the wake of the Dobbs decision, these works become especially urgent testimonies to what it feels like to give birth. This chapter deals with these operas and with the
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Saariaho, Kaija, and Tom Service. "Meet the Composer." In Kaija Saariaho: Visions, Narratives, Dialogues. 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. 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. 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. 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. 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. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-6.

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Conference papers on the topic "Saariaho, kaija"

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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). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.132.

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