Dissertations / Theses on the topic 'Saariaho'

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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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
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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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.

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"

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"

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.

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. 

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

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

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.

Mestrado em Desenvolvimento e Cooperação Internacional
O Desenvolvimento é um dos objectivos dos povos e a estabilização e o ajustamento estrutural podem ser determinantes para o atingir. No entanto, a forma como têm vindo a ser concebidos pelo FMI e pelo Banco Mundial, direccionada sobretudo para a esfera económica e marcada pela "nova ortodoxia" dominante, acabou por limitar o papel dos Programas de Ajustamento Estrutural (PAE) enquanto propulsores do desenvolvimento, tornando-os num conjunto de premissas rígidas, com resultados aquém do previsto. Nos anos 80, a crise no continente africano deixava transparecer a necessidade urgente de reformas. As finanças públicas apresentavam-se deficitárias e a corrupção, a "má governação" e o "neo-patrimonialismo" caracterizavam a actuação do Estado. As propostas do FMI e do Banco Mundial - liberalismo económico e estímulo dos mercados em detrimento da intervenção pública, traduzem-se em medidas como o estabelecimento de taxas de utilização dos serviços públicos, remoção de subsídios, despedimento de funcionários públicos, cortes salariais e privatizações. Os resultados destas reformas não se mostraram decisivos, designadamente no que se refere à melhoria do défice orçamental, e os efeitos negativos das restrições orçamentais sobre o bem-estar originaram um clima de instabilidade que acabou por pôr em causa a viabilidade do processo de ajustamento. A aversão ao papel do Estado e a forma radical como se impuseram as reformas, frequentemente sem considerar as características culturais, políticas, sociais e económicas de cada país, acabaram por condicionar o sucesso dos PAE. Apesar de haver por parte das instituições internacionais um reconhecimento de que é necessária a reforma destes Programas no sentido de incluir objectivos "não económicos", há quem defenda que só uma revisão e reordenação de prioridades os pode aproximar do Desenvolvimento.
Development is one of the society's goals, and stabilisation, and structural adjustment could be determinant to get it. The way how they are conceived by IMF and by World Bank, guided mainly through economical field and marked by the prevailing "new orthodoxy", had restrained Structural Adjustment Programme's role while development propellers, turning them into a set of rigid premises, with results straighter than expected. In the 80's, African Continent crisis reveals itself the urgent need of reforms. There were large public finance deficits in several countries and "bad governance", "neo-patrimonialism" and corruption labelled the State performance. From the World Bank and IMF proposals -economic liberalisation and pro-market reforms in loss of public action - resulted policies, like the introduction of user fees, public sector employment and wage cuts, grants removal and privatisation of public enterprises. The results didn't show conclusive, particularly in which is referred to public deficit amelioration, and the negative effects above welfare, caused by budget constrains, gave rise to an unstable environment, which jeopardised adjustment process viability. The State performance aversion and the radical way in which the reforms had been imposed, usually without taking in consideration cultural, politic, social and economical characteristics of each society, ended up conditioning their success. Although it's being recognised by international institutions, the necessity of Programmes reforms, in the way of including "non economical" objectives in the policy mix, others defend that only a review and a re-ordination of their priorities could bring them closer of Development

碩士
國立臺北教育大學
音樂學系碩士班
102
Kaija Saariaho is one of the major composers of modern Finland. Bold avant-garde compositional techniques coupled with creative concept, creating a great achievement and her position in the music industry. Six Japanese Gardens is a collection of impressions of the gardens she saw in Kyoto during her stay in Japan in the summer of 1993 and her reflection on rhythm at that time. Using Multi-percussion and electronic to compose this piece, rhythm counterpoint requires a lot of practice to achieve in the other percussion works and this piece. There are five chapters this thesis. Chapter one is an introduction which illustrate the motive, purpose, range and methods of research. Chapter two includes the biography of Kaija Saariaho and the background of Six Japanese Gardens. Chapter three is music analysis of Six Japanese Gardens. Chapter four is the interpretation of Six Japanese Gardens. Chapter five is conclusion.

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. Laconisme de l'aile (1982) is a dramatic and passionate work filled with lyrical gestures and intriguing timbres with optional electronic effects, and is an excellent introduction to the composer's writing for the flute. NoaNoa (1992) is characteristic of her mature compositional style. Like many of her later works, the electronic aspect of the work is integral to the piece. Saariaho's exploration of the timbral spectrum of the flute has resulted in a complex and unusual style of notation, making these works somewhat inaccessible for performers. Additionally, the technological requirements for NoaNoa make the work both intimidating and impossible to perform without either extensive technical knowledge or consultation with someone who has the necessary technical expertise. Through a detailed performance guide and reference recordings of both works, this project aims to make these two works accessible. All technical specifications are explained and the performance instructions address notation as well execution of all designated effects. Additionally, instructions for the electronic portion of NoaNoa allow flutists to perform the work with minimal assistance.
Dissertation/Thesis
Reference recording for NoaNoa
Reference recording for Laconisme de l'aile
Reference recording for Laconisme de l'aile with electronics
D.M.A. Music 2013

Mestrado em Desenvolvimento e Cooperação Internacional
Numa publicação recente do Grupo Banco Mundial (2001), intitulada ''Frontiers of Development Economics: The Future in Perspective"sob a edição de Gerald M. Meier e Joseph E. Stiglitz, o primeiro escreveu na introdução que a criação de ideias é uma condição necessária para o desenvolvimento(...) e que a rejeição de uma ideia má, é tão importante como a aceitação de uma ideia boa. Serve isto, para dizer que o que se pretende com a realização desta dissertação de mestrado é unicamente contribuir no plano das ideias sobre a questão: A África Sub-Saariana Entre a Globalização e a Marginalização. O presente trabalho, pretende ser um ponto de partida para uma reflexão sobre as problemáticas da globalização e da marginalização e respectiva influência sobre o processo de desenvolvimento da África Sub-Saariana. Dai o trabalho pretender essencialmente contribuir para uma melhor definição dos conceitos ligados à problemática em estudo. Por isso, a análise vai consistir na apreciação da situação dos países da África Sub-Saariana (em particular o caso angolano), em contexto de globalização e aferir quais as possibilidades desses países poderem vir a beneficiar com o processo de globalização, de forma a evitarem a estagnação e a marginalização económica, social e política na qual se encontra a maioria dos países que compõe essa região.
ln a recent World Bank publication (2001), titled "Frontiers of Development Economics: The Future in Perspective", under the edition of Gerald M. Meier and Joseph E. Stiglitz, the first editor wrote in the introduction that the creation of ideas is a necessary condition for development (...) and that rejection of a bad idea is so important as is the acceptance of a good idea. This is to state that what is intended with the accornplishment of this master dissertation is solely to contribute at the levei of the ideas on the question: The Sub-Saharan Africa between Globalization and Marginalization. The present work aims to be a starting point for a reflection about the problematic of globalization and marginalization and its influence on the process of development of Sub-Saharan Africa. This work aims to contribute essentially for a better definition of the concepts related with the problematic under study. The analysis will consist in the appreciation of the situation of Sub-Saharan African countries, in particular the Angolan case, in the context of globalization and in the assessment of what are the possibilities of these countries being able of benefiting from the globalization process, in order to avoid economic, social and politicai stagnation and rnarginalization, which are the situation of the majority of the countries of this region.
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