Journal articles on the topic 'Saariaho, kaija'
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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.
Full textvan, 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.
Full textMunk, 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.
Full textMoisala, 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.
Full textTsaregradskaya, 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.
Full textSkhaplok, 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.
Full textKucia-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.
Full textSivuoja-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.
Full textSaamishvili, 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.
Full textStein, Robert. "London, Proms 2012 (2): Olga Neuwirth, Kaija Saariaho." Tempo 67, no. 263 (January 2013): 73–75. http://dx.doi.org/10.1017/s0040298212001416.
Full textRomero 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.
Full textRomero 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.
Full textOliveira, 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.
Full textAnderson, Julian, and Kaija Saariaho. "Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho." Musical Times 133, no. 1798 (December 1992): 616. http://dx.doi.org/10.2307/1002509.
Full textLister, Rodney. "Boston: Saariaho's ‘Circle Map’." Tempo 67, no. 264 (April 2013): 74–75. http://dx.doi.org/10.1017/s0040298213000144.
Full textHowell, 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.
Full textKiseyeva, 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.
Full textVriezen, Samuel. "Kaija Saariaho Only the Sound Remains, Dutch National Opera, Muziektheater, Amsterdam." Tempo 70, no. 277 (June 10, 2016): 96–97. http://dx.doi.org/10.1017/s0040298216000255.
Full textPotter, 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 (March 6, 2020): 89–90. http://dx.doi.org/10.1017/s0040298219001347.
Full textGotcheva, Angelina-Ogniana. "The True Sense оr to My Only Desire: The Music as a Reason for Sun Reflections." Filosofiya-Philosophy 33, no. 1 (March 25, 2024): 93–105. http://dx.doi.org/10.53656/phil2024-01-05.
Full textCagney, L. "Kaija Saariaho: Visions, Narratives, Dialogues. Ed. by Tim Howell, Jon Hargreave, and Michael Rofe." Music and Letters 95, no. 3 (August 1, 2014): 493–95. http://dx.doi.org/10.1093/ml/gcu052.
Full textPeraino, Judith A. "Sonograms of Desire, Medieval and Modern." Paragraph 41, no. 1 (March 2018): 26–41. http://dx.doi.org/10.3366/para.2018.0248.
Full textCampion, Edmund. "Dual Reflections: A Conversation with Kaija Saariaho and Jean-Baptiste Barrière on Music, Art, and Technology." Computer Music Journal 41, no. 3 (September 2017): 9–20. http://dx.doi.org/10.1162/comj_a_00426.
Full textGOTCHEVA, 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 (September 15, 2023): 290–308. http://dx.doi.org/10.37708/bf.swu.v32i3.17.
Full textKucia, 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.
Full textRickards, Guy. "Kaija Saariaho: Visions, Narratives, Dialogues. Edited by Tim Howell with John Hargreaves and Michael Rofe. Ashgate, £55.00." Tempo 67, no. 265 (July 2013): 95–97. http://dx.doi.org/10.1017/s0040298213000612.
Full textPousset, 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 (January 2000): 67–110. http://dx.doi.org/10.1080/07494460000640371.
Full textBauer, 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 (August 1, 2018): 500–502. http://dx.doi.org/10.1093/ml/gcy089.
Full textLeydon, 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.
Full textPennington, 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.
Full textTsaregradskaya, 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.
Full textHinkle-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 (September 1999): 117–18. http://dx.doi.org/10.1162/comj.1999.23.3.117.
Full textSternburg, Judith von. "Requiem für ein Genie." Opernwelt 65, no. 7 (2024): 14–15. http://dx.doi.org/10.5771/0030-3690-2024-7-014.
Full textWeber, Sabine. "Grenzerfahrungen." Opernwelt 63, no. 4 (2022): 79. http://dx.doi.org/10.5771/0030-3690-2022-4-079.
Full textSivuoja-Gunaratnam, Anne. "Miniatures and tensions: phenomenological reverberations in and around Kaija Saariaho's Lichtbogen (1985-86)." Articles 25, no. 1-2 (December 17, 2012): 44–66. http://dx.doi.org/10.7202/1013305ar.
Full textKANKAANPÄÄ, VESA. "Displaced time: transcontextual references to time in Kaija Saariaho's Stilleben." Organised Sound 1, no. 2 (August 1996): 87–92. http://dx.doi.org/10.1017/s1355771896000106.
Full textAnderson, Martin. "London, Barbican: Saariaho's ‘L'amour de loin’." Tempo 57, no. 224 (April 2003): 42–43. http://dx.doi.org/10.1017/s0040298203220155.
Full textRiikonen, 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 (April 2003): 109–15. http://dx.doi.org/10.1017/s1355771803001122.
Full textRIIKONEN, TAINA. "Shared sounds in detached movements: flautist identities inside the ‘local-field’ spaces." Organised Sound 9, no. 3 (December 2004): 233–42. http://dx.doi.org/10.1017/s1355771804000421.
Full textBesada, José L., and Cristóbal Pagán Cánovas. "Timelines in Spectral Composition: A cognitive approach to musical creativity." Organised Sound 25, no. 2 (August 2020): 142–55. http://dx.doi.org/10.1017/s1355771820000059.
Full textReininghaus, Frieder. "Kaija Saariaho „AdrianaMater“ in Paris." Österreichische Musikzeitschrift 61, no. 5 (January 2006). http://dx.doi.org/10.7767/omz.2006.61.5.62.
Full textJena, Stefan. "Kaija Saariaho „L’ amour de Loin“." Österreichische Musikzeitschrift 55, no. 7 (January 2000). http://dx.doi.org/10.7767/omz.2000.55.7.48.
Full textSaamishvili, 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.
Full textOinas, Cecilia. "Sonic Bridges and Pitch-Based Bonding in Two Songs by Saariaho." Music Theory Online 29, no. 3 (September 2023). http://dx.doi.org/10.30535/mto.29.3.6.
Full textFantapié, Henri-Claude. "Kaija Saariaho, compositrice, ou quand devient-on un compositeur classique ?" Études finno-ougriennes, no. 45 (December 1, 2013). http://dx.doi.org/10.4000/efo.2585.
Full textMorrison, Landon. "Encoding Post-Spectral Sound." Music Theory Online 27, no. 3 (September 2021). http://dx.doi.org/10.30535/mto.27.3.10.
Full text"Саамишвили Н.Н. The opera of Kaija Saariaho “L’amour de loin”: questions of libretto and composing technique." PHILHARMONICA. International Music Journal 2, no. 2 (February 2015): 323–41. http://dx.doi.org/10.7256/2453-613x.2015.2.17088.
Full textDitche, Élisabeth Rallo. ""This extraordinarily therapeutic opera": Innocence de Kaija Saariaho et Sofi Oksanen, mis en scène par." Miranda, no. 23 (October 4, 2021). http://dx.doi.org/10.4000/miranda.40973.
Full textDuinker, Ben. "Interpretive Difficulty and Emergent Structure in Contemporary Music." Journal of Music Theory, September 8, 2022. http://dx.doi.org/10.1215/00222909-9930901.
Full text"Kaija Saariaho’s “Près”: The Transformation of Gesture." College Music Symposium 55 (2015). http://dx.doi.org/10.18177/sym.2015.55.ca.11103.
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