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Kaija Saariaho (; née ''Laakkonen'', born 14 October 1952) is a Finnish composer based in Paris, France. Saariaho studied composition in Helsinki, Freiburg and Paris, where she has lived since 1982. Her research at the Institute for Research and Coordination Acoustic (IRCAM) marked a turning point in her music away from strict serialism towards spectralism. Her characteristically rich, polyphonic textures are often created by combining live music and electronics. In 1986, Saariaho was awarded the Kranichsteiner Preis at the Darmstadt International Summer Courses for New Music. In 1988, she won the Prix Italia for her work ''Stilleben'' and in 1989 both ''Stilleben'' and ''Io'' were awarded the Prix Ars Electronica.〔Vesa Kankaanpää (1996). "Displaced time: transcontextual references to time in Kaija Saariaho's Stilleben". ''Organised Sound'', Volume 1, Issue 02, August 1996, pp 87-92. Cambridge Universisty Press DOI: http://dx.doi.org/ (About DOI), Published online: 08 September 2000.〕 In 2013 she was awarded the prestigious Polar Music Prize. During the course of her career she has received commissions from the Lincoln Center for the Kronos Quartet and from IRCAM for the Ensemble Intercontemporain, the BBC, the New York Philharmonic, the Salzburg Music Festival, the Théâtre du Châtelet in Paris and the Finnish National Opera, among others.〔"Kaija Saariaho (1952-)." Ondine. N.p., n.d. Web. 20 Aug. 2015. == Life and work == Saariaho was born in Helsinki. She studied at the Sibelius Academy under Paavo Heininen. After attending the Darmstadt Summer Courses she moved to Germany to study at the Hochschule für Musik Freiburg under Brian Ferneyhough and Klaus Huber. She found her teachers’ emphasis on strict serialism and mathematical structures stifling, saying in an interview, "You were not allowed to have pulse, or tonally oriented harmonies, or melodies. I don't want to write music through negations. Everything is permissible as long as it's done in good taste." In 1980 Saariaho went to the Darmstadt Summer Courses and attended a concert of the French spectralists Tristan Murail and Gerard Grisey.〔Ross, Alex. "Birth." The New Yorker. Condé Nast, 24 Apr. 2006. Web. 20 Aug. 2015. In Paris Saariaho developed an emphasis on slow transformations of dense masses of sound.〔"Biography: Kaija Saariaho." Kaija Saariaho. N.p., n.d. Web. 20 Aug. 2015. Her work in the 1980s and 1990s was marked by an emphasis on timbre and the use of electronics alongside traditional instruments. ''Nymphéa (Jardin secret III)'' (1987), for example, is for string quartet and live electronics and contains an additional vocal element: the musicians whisper the words of an Arseny Tarkovsky poem, ''Now Summer is Gone''. In writing ''Nymphea'', Saariaho used a fractal generator to create material. Writing about the compositional process, Saariaho wrote, “In preparing the musical material of the piece, I have used the computer in several ways. The basis of the entire harmonic structure is provided by complex cello sounds that I have analysed with the computer. The basic material for the rhythmic and melodic transformations are computer-calculated in which the musical motifs gradually convert, recurring again and again.”〔Saariaho, Kaija. Programme Note: Nymphéa (1987). New York: Commissioned by the Lincoln Center and Doris & Myron Beigler for the Kronos Quartet., 1987. Print.〕 She has often talked about having a kind of synaesthesia, which is a neurological phenomenon in which the stimulation of one sense triggers other senses. Saariaho’s synaesthesia involves all of the senses, and she has said, “...the visual and the musical world are one to me... Different senses, shades of colour, or textures and tones of light, even fragrances and sounds blend in my mind. They form a complete world in itself.”〔Moisala, P. (2009). Kaija Saariaho. Urbana: University of Illinois Press. P. 55.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kaija Saariaho」の詳細全文を読む スポンサード リンク
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