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Journal articles on the topic 'Saariaho, 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

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

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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16

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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17

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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18

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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19

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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20

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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21

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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22

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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23

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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24

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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25

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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26

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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27

Kucia, Katarzyna. "The Figure of Kenosis in Literature and Music. The Case of Kaija Saariaho’s Oratorio La Passion de Simone." Rocznik Komparatystyczny 8 (2017): 231–61. http://dx.doi.org/10.18276/rk.2017.8-11.

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28

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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29

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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30

Bauer, Amy. "Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, Tan Dun. By Yayoi Uno Everett." Music and Letters 99, no. 3 (2018): 500–502. http://dx.doi.org/10.1093/ml/gcy089.

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31

Leydon, Rebecca. "Review: Reconfiguring Myth and Narrative in Contemporary Opera: Osvaldo Golijov, Kaija Saariaho, John Adams, and Tan Dun, by Yayoi Uno Everett." Journal of the American Musicological Society 71, no. 1 (2018): 272–77. http://dx.doi.org/10.1525/jams.2018.71.1.272.

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32

Caskel, Julian. "Kaija Saariaho: Visions, Narratives, Dialogues. Hrsg. von Tim Howell, Jon Hargreaves und Michael Rofe. Farnham: Ashgate 2011. XXVII, 225 S., Abb., Nbsp." Die Musikforschung 66, no. 3 (2024): 305–6. http://dx.doi.org/10.52412/mf.2013.h3.3266.

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33

Pennington, Stephan. "Kaija Saariaho, and: Dusty! Queen of the Postmods, and: Big Ears: Listening for Gender in Jazz Studies (review)." Feminist Formations 23, no. 2 (2011): 232–37. http://dx.doi.org/10.1353/ff.2011.0029.

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34

Tsaregradskaya, Tatiana V. "The Music of Fausto Romitelli: Concerning the Question of “Musical Material”." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2024): 81–90. http://dx.doi.org/10.56620/2782-3598.2024.1.081-090.

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The end of the 20th century demonstrates an expansion of horizons of the comprehension of musical sonorities, the conception of their transformation from music into “sound,” which radically changes the perception of timbre: this element becomes transformed from a peripheral component of sound to the primary element, thereby changing entirely the entire conception of musical material. Thus, the theory of music material developed by outstanding German philosopher Theodor Adorno in the middle of the 20th century has found its confirmation. The latter’s concept of the historicity of music material

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35

Hinkle-Turner, Elizabeth. "Kaija Saariaho: Private Gardens Compact disc, 1997, Ondine ODE 906-2; available from Electronic Music Foundation, 116 North Lake Ave., Albany, New York 12206, USA; World Wide Web http://www.cdemusic.org/." Computer Music Journal 23, no. 3 (1999): 117–18. http://dx.doi.org/10.1162/comj.1999.23.3.117.

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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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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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39

Vashchenko, Olena. "Trends in the development of the foreign instrumental concerto at the turn of the 20th – the first quarter of the 21st century." Aspects of Historical Musicology 35, no. 35 (2024): 225–50. http://dx.doi.org/10.34064/khnum2-35.12.

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Statement of the problem. The instrumental concerto remains one of the most important genre spheres of composer’s interest at the turn of the 20th–beginning of the 21stcentury, which is confirmed by the wide palette of works written by artists of various national schools and directions. Among them are Philip Glass, Calevi Aho, Tan Dun, John Adams, Esa-Pekka Salonen, Einojuhani Rautavaara, Unsuk Chin, Dai Fujikura, Avner Dorman, Errollyn Wallen, Missy Mazzoli, Kaija Saariaho, Sampo Haapam&#228;ki, Ney Rosauro, Peter Mahajdik, Jukka Tiensuu, Li-Ying Wu and others. Different in their style, a

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40

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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41

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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42

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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43

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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Besada, José L., and Cristóbal Pagán Cánovas. "Timelines in Spectral Composition: A cognitive approach to musical creativity." Organised Sound 25, no. 2 (2020): 142–55. http://dx.doi.org/10.1017/s1355771820000059.

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What takes place in the minds of composers when they struggle to incorporate a given temporal concept into a musical work? Spectral composers have produced detailed theoretical proposals about time in music, but how exactly those ideas influenced their musical practices remains an extremely challenging question. Graphical representations in their sketches provide invaluable clues. Through the analyses of Gérard Grisey’s and Kaija Saariaho’s manuscripts, we show how the theoretical frameworks for the basic cognitive operations of blending and anchoring, which underlie the construction of comple

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Схаплок, Г. А. "The Flute Music of Kaija Saariaho." Музыковедение, no. 1 (February 2, 2022). http://dx.doi.org/10.25791/musicology.1.2022.1230.

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В статье рассматривается творчество известного финского композитора Кайи Саариахо. Объектом исследования являются наиболее яркие, прочно закрепившиеся в репертуаре исполнителей флейтовые сочинения, созданные с начала 1980-х годов до настоящего времени; среди них «Laconisme de l'aile», «NoaNoa», «L'aile du Songe», посвященные флейтистке Камилле Хоитенга и другие. Особое внимание исследователь уделяет характеристике разнообразных элементов музыкальной лексики Саариахо, входящих в категорию нетрадиционных приемов игры на флейте. Анализ избранных композиций позволяет обозначить содержательные, жан

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Reininghaus, Frieder. "Kaija Saariaho „AdrianaMater“ in Paris." Österreichische Musikzeitschrift 61, no. 5 (2006). http://dx.doi.org/10.7767/omz.2006.61.5.62.

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Jena, Stefan. "Kaija Saariaho „L’ amour de Loin“." Österreichische Musikzeitschrift 55, no. 7 (2000). http://dx.doi.org/10.7767/omz.2000.55.7.48.

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Saamishvili, Natalia. "Saariaho, Maalouf, Sellars: co-authorship at the opera theatre." Ученые записки Российской академии музыки имени Гнесиных, 2024, 17–34. http://dx.doi.org/10.56620/2227-9997-2024-2-17-34.

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The focus of the research is the creative collaboration between composer Kaija Saariaho and her regular partners, playwright Amin Maalouf and director Peter Sellars, vividly embodied in the field of musical theater. The subject of the study is three operas by Saariaho, created in different years; the compositions carry a certain artistic image, characterizing the joint work of the three masters. The three operas are united by such a specific factor as the combination of a special psychological depth in the development of the plot with some elements of unreality. In each of the operas, this fac

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Schweitzer, Benjamin. "Vom „Anti-Väinämöinen“ zum „neuen Sibelius“." Online-only Publikationen des Leibniz-Instituts für Deutsche Sprache 9 (March 10, 2025). https://doi.org/10.21248/idsopen.9.2025.47.

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Kaija Saariaho war die erste finnische Komponistin, die einen bemerkenswerten internationalen Ruf erlangte. Im Vergleich zu den etablierten Mustern, die das Bild finnischer Komponisten prägten – hauptsächlich, aber nicht ausschließlich, basierend auf der diskursiven Konstruktion von Jean Sibelius als prototypischem Beispiel –, kann das Auftreten von Saariaho auf mehreren Ebenen als ein störendes Ereignis betrachtet werden. Mein Artikel beginnt mit der Einführung definitorischer Konzepte von Mustern (als potentiell multimodale Zeichenkomplexe, die als Modelle dienen und reproduziert werden) und

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