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Year 2020, Volume: 4 Issue: 2, 227 - 247, 30.12.2020
https://doi.org/10.33906/musicologist.775821

Abstract

References

  • Anderson, Dean. (2015). “The Conductor’s Role in Electro-Acoustic Orchestral Music: Performance Practice Problems in Kaija Saariaho’s Verblendungen” DMA dissertation, University of California, Los Angeles: USA
  • Hodjati, Katayoon. (2013). “A Performer's Guide to the Solo Flute Works of Kaija Saariaho: Laconisme de l'aile and NoaNoa” DMA dissertation, Arizona State University, Arizona: USA.
  • Howell, Tim; Hargreaves, Jon and Rofe, Michael. (2011). Kaija Saariaho: Visions, Narratives, Dialogues. Surrey, England: Ashgate Publishing Limited.
  • Korhonen, Kimmo. (2016). [Liner Notes] In Kaija Saariaho: Chamber Works for String Quartets, vol. 2 [CD]. Germany: Ondine.
  • Hutchinson, Mark. (2016). Coherence in New Music: Experience, Aetshetics, Analysis. New York: Routlegde.
  • Mao-Takacs, Clément. (2014, September 25). “A Conversation with Kaiji Saariaho” Music & Literature. Retrieved from https://www.musicandliterature.org/features/2014/9/22/a-conversation-with-kaija-saariaho
  • Moisala, Pirkko. (2009). Kaija Saariaho. Chicago: University of Illinois Press.
  • Murray, Christopher. (2008) “The Timbres of Timbres-durées: between note and objet musical.” Retrieved from http://www.ems-network.org/ems08/papers/murray.pdf
  • Newman, William S. (1976). “The Performance of Beethoven's Trills” Journal of the American Musicological Society, 29(3): 439-462.
  • Nieminen, Risto. (1997). A Portrait of Kaija Saariaho [Liner notes] On A Portrait of Kaija Saariaho [CD] France: BIS production.
  • Saariaho, Kaiji. (2001). Song for Betty [Liner notes] In Song for Betty. London: Chester Music Ltd. Retrieved from https://saariaho.org/works/song-for-betty/
  • Saariaho, Kaija. (2004). Works for Cello and Electronic [Liner notes]. In Works for Cello and Electronic [CD]. USA: Albany Records
  • Saariaho, Kaiji. (2011). The Music of Future. Roger Reynolds and Karen Reynolds (Eds.). San Diego: University of California, Retrieved from http://www.rogerreynolds.com/futureofmusic/saariaho.html
  • Saariaho, Kaija. (2012). “Frises” [Programme note] Frises (2011). Retrieved from https://saariaho.org/works/frises/
  • Service, Tom. (2012, July 9). “A Guide to Kaija Saariaho’s Music” The Guardian, Retrieved from https://www.theguardian.com/music/tomserviceblog/2012/jul/09/kaija-saariaho-contemporary-music-guide
  • Tommasini, Anthony. (2009, January 7). “Betty Freeman, Patron of New Music, Dies at 87” The New York Times, Retrieved from https://www.nytimes.com/2009/01/07/arts/07freeman.html
  • Wahl, Alison. (2017). Timbral Intention: Examining the Contemporary Performance Practice and Techniques of Kaija Saariaho’s Vocal Music. DMA diss., Northwestern University.

Broken-Continuity in Saariaho’s Terra Memoria

Year 2020, Volume: 4 Issue: 2, 227 - 247, 30.12.2020
https://doi.org/10.33906/musicologist.775821

Abstract

Terra Memoria is a musical piece that explores timbre, dynamic and texture, creating an unconventional formal design. Although discontinuity and interruption are experimented with to create a sense of unexpected development in the music’s progress, there are various means by which Saariaho unifies the composition. Throughout the piece, she explores different musical styles, new musical expressions, and compositional techniques in her own unique way. The music shows threads of stylistic connection to conventional music of the past centuries, minimalist-like repetition, and electronic music. Vocal and operatic writing styles are also experimented with. The composition demonstrates Saariaho’s challenge to traditional notions of form, giving her her own music vocabulary.

References

  • Anderson, Dean. (2015). “The Conductor’s Role in Electro-Acoustic Orchestral Music: Performance Practice Problems in Kaija Saariaho’s Verblendungen” DMA dissertation, University of California, Los Angeles: USA
  • Hodjati, Katayoon. (2013). “A Performer's Guide to the Solo Flute Works of Kaija Saariaho: Laconisme de l'aile and NoaNoa” DMA dissertation, Arizona State University, Arizona: USA.
  • Howell, Tim; Hargreaves, Jon and Rofe, Michael. (2011). Kaija Saariaho: Visions, Narratives, Dialogues. Surrey, England: Ashgate Publishing Limited.
  • Korhonen, Kimmo. (2016). [Liner Notes] In Kaija Saariaho: Chamber Works for String Quartets, vol. 2 [CD]. Germany: Ondine.
  • Hutchinson, Mark. (2016). Coherence in New Music: Experience, Aetshetics, Analysis. New York: Routlegde.
  • Mao-Takacs, Clément. (2014, September 25). “A Conversation with Kaiji Saariaho” Music & Literature. Retrieved from https://www.musicandliterature.org/features/2014/9/22/a-conversation-with-kaija-saariaho
  • Moisala, Pirkko. (2009). Kaija Saariaho. Chicago: University of Illinois Press.
  • Murray, Christopher. (2008) “The Timbres of Timbres-durées: between note and objet musical.” Retrieved from http://www.ems-network.org/ems08/papers/murray.pdf
  • Newman, William S. (1976). “The Performance of Beethoven's Trills” Journal of the American Musicological Society, 29(3): 439-462.
  • Nieminen, Risto. (1997). A Portrait of Kaija Saariaho [Liner notes] On A Portrait of Kaija Saariaho [CD] France: BIS production.
  • Saariaho, Kaiji. (2001). Song for Betty [Liner notes] In Song for Betty. London: Chester Music Ltd. Retrieved from https://saariaho.org/works/song-for-betty/
  • Saariaho, Kaija. (2004). Works for Cello and Electronic [Liner notes]. In Works for Cello and Electronic [CD]. USA: Albany Records
  • Saariaho, Kaiji. (2011). The Music of Future. Roger Reynolds and Karen Reynolds (Eds.). San Diego: University of California, Retrieved from http://www.rogerreynolds.com/futureofmusic/saariaho.html
  • Saariaho, Kaija. (2012). “Frises” [Programme note] Frises (2011). Retrieved from https://saariaho.org/works/frises/
  • Service, Tom. (2012, July 9). “A Guide to Kaija Saariaho’s Music” The Guardian, Retrieved from https://www.theguardian.com/music/tomserviceblog/2012/jul/09/kaija-saariaho-contemporary-music-guide
  • Tommasini, Anthony. (2009, January 7). “Betty Freeman, Patron of New Music, Dies at 87” The New York Times, Retrieved from https://www.nytimes.com/2009/01/07/arts/07freeman.html
  • Wahl, Alison. (2017). Timbral Intention: Examining the Contemporary Performance Practice and Techniques of Kaija Saariaho’s Vocal Music. DMA diss., Northwestern University.
There are 17 citations in total.

Details

Primary Language English
Subjects Music
Journal Section Articles
Authors

Kheng K. Koay 0000-0001-7941-6559

Publication Date December 30, 2020
Published in Issue Year 2020 Volume: 4 Issue: 2

Cite

APA Koay, K. K. (2020). Broken-Continuity in Saariaho’s Terra Memoria. Musicologist, 4(2), 227-247. https://doi.org/10.33906/musicologist.775821