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Books on the topic 'Saariaho, kaija'

Author: Grafiati
Published: 26 July 2024
Last updated: 27 July 2024

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1

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

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2

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

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3

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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4

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

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5

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

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6

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

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7

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

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8

Kaija Saariaho. Urbana: University of Illinois Press, 2009.

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9

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

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10

Howell, Tim, and Jon Hargreaves. Kaija Saariaho: Visions, Narratives, Dialogues. Taylor & Francis Group, 2016.

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11

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

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12

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

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13

Kaija Saariaho: Visions, narratives, dialogues. Burlington, VT: Ashgate, 2011.

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14

Les Cahiers de l'Ircam. Compositeurs d'aujourd'hui - Numéro 6 - Kaija Saariaho. Editions du Centre Pompidou, 2000.

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15

Woher? Wohin?: Die Komponistin Kaija Saariaho : Symposion, 16. September 2006, Alte Oper Frankfurt am Main. Mainz: Schott, 2007.

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16

Everett, Yayoi Uno. Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun. Indiana University Press, 2015.

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17

Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun. Indiana University Press, 2015.

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18

Barrière, Jean-Baptiste, and Aleksi Barrière. When Music Unfolds into Image. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.39.

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Abstract:
The authors reflect on their own experience of developing a specific form of multimedia live performance: the visual concert. The various video projects they realized for works by Finnish composer Kaija Saariaho serve as examples illustrating a more general aesthetic question: what can video art bring to music within the concert ritual? Answers are suggested first in a general assessment of the scientific (perception and cognition research) and cultural roots and parameters of cross-media art forms, and second in an analysis of the contemporary technological tools that allow the visual concert to move beyond the antiquated paradigms of synesthesia, synchronization, or aleatory autonomy of juxtaposed media, and thus to meet the challenges of contemporary music. These mostly unexplored links between new musical techniques and video art open new opportunities that expand the listener’s experience of music and suggest a practice that can become an art form of its own.
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19

Straus, Joseph N. The Art of Post-Tonal Analysis. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197543979.001.0001.

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Abstract:
This book consists of analyses of thirty-three musical passages or entire short works in a variety of post-tonal styles. The works under study are taken from throughout the long twentieth century, from 1909 to the present. Within the atonal wing of modern classical music, the composers discussed here, some canonical and some not, represent a diversity of musical style, chronology, geography, gender, and race/ethnicity: Arnold Schoenberg, Anton Webern, Alban Berg, Béla Bartók, Igor Stravinsky, Aaron Copland, Ruth Crawford Seeger, Milton Babbitt, Luigi Dallapiccola, Elliott Carter, Louise Talma, Hale Smith, Elisabeth Lutyens, Ursula Mamlok, Tania León, Tan Dun, Shulamit Ran, Kaija Saariaho, Joan Tower, John Adams, Sofia Gubaidulina, Thomas Adès, Caroline Shaw, Chen Yi, and Suzanne Farrin. The approach is pedagogical, in the somewhat informal style of a classroom. Musical examples and analytical videos carry the burden of the analytical argument, with relatively little prose. For each piece, the book suggests ways of making sense of the music, using basic concepts of post-tonal theory to tease out rich networks of musical relationships and reveal something of the fascination and beauty of this challenging music.
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