Bibliographies thématiques / Saariaho, kaija

Littérature scientifique sur le sujet « Saariaho, kaija »

Auteur : Grafiati
Publié le 26 juillet 2024
Mis à jour le 27 juillet 2024

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Articles de revues sur le sujet "Saariaho, kaija"

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Gray, Mary W. « Émilie by Kaija Saariaho ». Mathematical Intelligencer 38, no 4 (19 octobre 2016) : 84–85. http://dx.doi.org/10.1007/s00283-016-9642-5.

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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: "Capturing time and giving it form." In this phrase she connects the aspect of time and space with musical form. Understanding how Saariaho'sconception of musical form brings the concept of a multidimensional network to the discussion. Saariaho developed this concept for Verblendungen, and the same principle has been used for an analysis of Lichtbogen. This analysis is not a score analysis, instead, it is based on the listening experience of several recordings. As Saariaho is concerned with the perception of her music, a listening-based graphic analysis is proposed based on listening. It captures an illuminating perspective on the form of Lichtbogen. Given the importance of timbre in Saariaho's music, and the way how timbre and form are connected, the question of her relation with spectral music is unavoidable. Saariaho lived in Paris during the '80s, when early spectralism made important developments. And her music is indeed deeply influenced by the spectral approach in many ways. However, there are differences, especially regarding her attitude towards musical form. Finally the discussion about space is taken to the perspective of electronics and how they contribute to the expression of space. In Lichtbogen, the amplification is used to make those sounds on the threshold of audibility audible, and the reverb is used to create virtual spaces. The concept of space is integrated in the composition itself. In conclusion, the concept of space is central to Saariaho's creativity. This connection is approached in this article from various perspectives.It illustrates how important the space is, in connection with time and light, in Saariaho'scompositional work.
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Munk, J. « Kaija Saariaho. By Pirkko Moisala. » Music and Letters 92, no 1 (1 février 2011) : 174–76. http://dx.doi.org/10.1093/ml/gcq096.

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Moisala, Pirkko, et Camila Durães Zerbinatti. « Gender Negotiation of the composer Kaija Saariaho in Finland : The Woman Composer as Nomadic Subject. » Revista Vórtex 3, no 2 (31 décembre 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 epistemology of nomadic transitions by BRAIDOTTI (1991, 1994). I claimed that Saariaho has negotiated her gender not “within” the male-dominated system but “with” it, defining a new gender subject position: the position of the nomadic subject.
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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 the analysis which is performed according to ideas of Saariaho expressed in her theoretical articles. One of the most interesting ideas about music form proposed by the composer is the idea of “polyphony of processes”, which means that different parameters of composition are realized in different schemes that do not intersect but act as separate phenomena creating an impression of both independence of the parameters and their interaction at the same time. Such parameters as rhythm, melodic ideas, application of text, tempos, textures and their combinations as well as orchestration and harmony have their own profile and are constructed according to different schemes. Besides music itself, a text by Saariaho written for the premiere of the piece is analysed and interpreted as a special case of a “composer’s vision” which shows specific angles in the author’s perception.
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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 used to prepare data and patches. In the two pieces, the electronic parts amplify and develop the sonic structure of the solo instrument, exemplify the close relationship between sound material and musical structure, and explore real-time strategies for control over various synthesis and signal processing algorithms.
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Kucia-Kuśmierska, Katarzyna. « Simone Weil i Kaija Saariaho. Paradoksy literacko-muzyczne ». Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no 10 (30 décembre 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 poziomie języka pełnego sprzeczności, jak i na poziomie rozważanej idei kenozy – największego paradoksu teologicznego, zasadzającego się na zderzeniu boskiej natury Chrystusa z pozbawieniem Go chwały w momencie Ukrzyżowania. Język muzyczny Saariaho wyzyskuje weilowskie sprzeczności, zestawiając ze sobą kontrastowe masy brzmień. Zamienia także muzyczny czas na wrażenie muzycznej przestrzeni oraz w sposób paradoksalny naśladuje dźwiękami ciszę.
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Sivuoja-Gunaratnam, Anne. « Desire and distance in Kaija Saariaho's Lonh ». Organised Sound 8, no 1 (avril 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 at the very beginning. In their succeeding encounters, the lovers move further away from each other. Similarly, in the course of Lonh the distance to Jaufré's song also increases. Luce Irigaray's concepts of love are used for an analysis of the relationship of the loving pair. By the end of Lonh the borderlines of speaking, singing, electronics, language and music collapse in Barthesian jouissance (bliss). The electronic technology in Lonh enables the re-investiture of cultural values, and the construction of flexible identities, crossing boundaries between the self and the other.
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Saamishvili, N. N. « True Fire by Kaija Saariaho : Poetics of Composition ». Art & ; Culture Studies, no 2 (juin 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 division of the article into two parts. The composer, by her own admission, sought to demonstrate in the cycle the rich palette of colors of the world-famous Canadian baritone Gerald Finley for whom the composition was written. In addition, in True Fire through the texts of R.W. Emerson, M. Darvish, S. Heaney and the lullaby of the Tewa Indians, which became the literary basis of the work, the author’s ideas of a different order are embodied. What they are and how they are reflected in music are the questions that we tried to answer in this article.
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Stein, Robert. « London, Proms 2012 (2) : Olga Neuwirth, Kaija Saariaho ». Tempo 67, no 263 (janvier 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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Thèses sur le sujet "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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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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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, 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"
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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, 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"
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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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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.
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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 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.
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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.

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. 

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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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Résumé :
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. 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
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Livres sur le sujet "Saariaho, kaija"

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

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

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Martha, Brech, et Mäkelä Tomi, dir. 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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Kaija, Saariaho, dir. Elektronisia unelmia : Kirjoituksia Kaija Saariahon musiikista. Helsinki : Yliopistopaino, 2005.

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

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

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

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

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

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

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Chapitres de livres sur le sujet "Saariaho, kaija"

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Stephan, Ilja. « Saariaho, Kaija ». Dans Komponisten Lexikon, 520–21. Stuttgart : J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_262.

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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 ». Dans The Routledge Handbook of Music Signification, 333–44. [1.] | New York : Routledge, 2020. : Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-29.

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Saariaho, Kaija, et Tom Service. « Meet the Composer ». Dans Kaija Saariaho : Visions, Narratives, Dialogues, 3–14. 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 ». Dans Kaija Saariaho : Visions, Narratives, Dialogues, 15–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-2.

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Oskala, Anni. « Dreams about Music, Music about Dreams ». Dans Kaija Saariaho : Visions, Narratives, Dialogues, 41–60. 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 ». Dans Kaija Saariaho : Visions, Narratives, Dialogues, 63–80. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-4.

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Rofe, Michael. « Capturing Time and Giving it From : Nymphéa ». Dans Kaija Saariaho : Visions, Narratives, Dialogues, 81–105. 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 ». Dans Kaija Saariaho : Visions, Narratives, Dialogues, 107–29. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-6.

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Howell, Tim. « Dualities and Dialogues : Saariaho's Concertos ». Dans Kaija Saariaho : Visions, Narratives, Dialogues, 133–57. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-7.

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Kankaanpää, Vesa. « Dichotomies, Relationships : Timbre and Harmony in Revolution ». Dans Kaija Saariaho : Visions, Narratives, Dialogues, 159–76. Routledge, 2017. http://dx.doi.org/10.4324/9781315092218-8.

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Actes de conférences sur le sujet "Saariaho, kaija"

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Saamishvili, Natalia. « Some Features of Libretto and Musical Composition in “L’amour de loin” by Kaija Saariaho ». Dans Proceedings of the 2nd International Conference on Art Studies : Science, Experience, Education (ICASSEE 2018). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.132.

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