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"Moisala, Pirkko"
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Kaija Saariaho
This book is the first comprehensive study of the music and career of contemporary composer Kaija Saariaho. Born in Finland in 1952, Saariaho received her early musical training at the Sibelius Academy, where her close circle included composer and conductor Esa-Pekka Salonen. She has since become internationally known and recognized for her operas L'amour de loin and Adriana Mater and other works that involve electronic music. Her influences include the spectral analysis of timbre, especially string sounds, micropolyphonic techniques, the visual and literary arts, and sounds in the natural world._x000B__x000B_Pirkko Moisala approaches the unique characteristics of Saariaho's music through composition sketches, scores, critical reviews, and interviews with the composer and her trusted musicians. Drawing extensively from this material, Moisala describes the development of Saariaho's career and international reception, the characteristics of her musical expression, and the progression of her compositional process.
eBook
Noticing musical becomings: Deleuzian and Guattarian approaches to ethnographic studies of musicking
Campbell claims to explore the multiple \"rhizomatic\" connections that operate \"between concepts of music, social practice, the development of instruments and instrumental techniques, musical systems, notation, performance styles and practice, developments in technology, performance spaces, musical institutions, recording and reproduction of music, relationships with literature, visual arts and philosophy and innumerable other factors\" (ibid., 36). [...]he focuses mainly on musical parameters of pitch, timbre, tempo, rhythm, and duration, as well as on the insights Deleuze and Guattari offer for musical semiotics.2 In distinction from Deleuzian studies of music as scores or structures of sound attributed principally to composers, our reflections adopt Christopher Small's (1998) idea of musicking as a starting point.3 That is, we engage musics as acts that establish and emerge from sets of relationships in the places and times in which they are occurring.
Journal Article
“NOBODY SHOULD BE FORCED TO MAKE A LIVING BY BEGGING”: SOCIAL EXCLUSION AND CULTURAL RIGHTS OF GĀINE/GANDHARVA MUSICIANS OF NEPAL
This article addresses the interplay of music, poverty, social exclusion, and cultural rights of an “untouchable” caste of musicians of Nepal, the Gāines or Gandharvas. Nepal's abolishment of a Hinduistic state order in 1964 and radical political changes since the 1990s are slowly improving life possibilities for the Gāines/Gandharvas. Yet their ability to sustain their musical tradition is weakening and their key musical instrument, thesāraṅgi, is increasingly claimed by other (caste) groups. The life story of an individual musician, Khim Bahadur Gayak, illuminates how even the most skilful music-making has not provided higher social status and economic security.
Journal Article
Reflections on an Ethnomusicological Study of a Contemporary Western Art Music Composer
Editor's Note: In 2009, ethnomusicologist Pirkko Moisala published a book on the work of contemporary Finnish composer Kaija Saariaho (b.1952). In this short item, we invited Moisala to reflect on the process of writing a composer biography from the perspective of someone who has worked for many years in the field of ethnomusicology, reflections which were not possible to include in the book itself.
Journal Article
Gender Negotiation of the composer Kaija Saariaho in Finland: The Woman Composer as Nomadic Subject
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.
Journal Article
Dramas
Despite saariaho’s protestations in the 1980s that she would never write an opera, and even though some music critics were surprised when she did produce such works, her operatic works can also be understood as a logical continuation of her development as a composer. Opera combines several art forms and Saariaho’s musical path has always moved fluidly over their meeting points. She has had a special interest in the human voice in its various forms since childhood, and vocal works written to carefully chosen literary texts have been an important facet of her production since her early years as a
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