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Gerisey Examples

This document provides 19 examples from Kaija Saariaho's early electronic music compositions created at IRCAM from 1982-1987. The examples include excerpts from her scores and parameter files, analyses of the formal structures and interpolation processes used in works like "Vers le blanc" and "Jardin secret II", and annotated excerpts from the score of her composition "IO". The examples aim to illustrate Saariaho's techniques for encoding post-spectral sound through computer-assisted composition at IRCAM in her pioneering works for electronic and mixed media.

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54 views20 pages

Gerisey Examples

This document provides 19 examples from Kaija Saariaho's early electronic music compositions created at IRCAM from 1982-1987. The examples include excerpts from her scores and parameter files, analyses of the formal structures and interpolation processes used in works like "Vers le blanc" and "Jardin secret II", and annotated excerpts from the score of her composition "IO". The examples aim to illustrate Saariaho's techniques for encoding post-spectral sound through computer-assisted composition at IRCAM in her pioneering works for electronic and mixed media.

Uploaded by

eduardjohn88
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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MTO 27.

3 Examples: Morrison, Encoding Post-Spectral Sound: Kaija Saariaho’s Early


Electronic Music at IRCAM, 1982–87

(Note: audio, video, and other interactive examples are only available online)
[Link]

Example 1. Saariaho, score for Vers le blanc (originally printed in 1987, 104)
Example 2. Saariaho, form diagram of Vers le blanc, Sacher Foundation, Basel
Example 3. Saariaho, excerpt of parameter file for Voice I, Sacher Foundation, Basel
Examples 4a–c. (a) table of frequency information for three parameter files;
(b) graph showing pitch contours as breakpoint functions;
(c) table of secondary parameters
Examples 5a–c. (a) Saariaho, function file for Voice I, Sacher Foundation, Basel; (b) tabulation of
phonemes in CHANT dictionary; (c) a spectral envelope defined with five formant regions
(reprinted from Baisnée et al., CHANT manual, 8; “f1–f5” annotations are my own)
Example 6. Filter and FOF synthesis techniques in CHANT (reprinted from Baisnée et al. 1985,
30)
Example 7. “Phrases” composed of phoneme sequences in Vers le blanc, transcribed from
CHANT code, Sacher Foundation, Basel
Example 8. Saariaho, sketch of eight phoneme sequences, Sacher Foundation, Basel
Example 9. Saariaho, diagram of overall phoneme structure, Sacher Foundation, Basel

Examples 10a–b. Saariaho, rhythmic interpolations: a) even-to-uneven, and b) few-to-many


(reproduced from Saariaho 1984, 164)
Example 11. Saariaho, interpolation processes in multilevel network (reproduced from Saariaho
1984, 163)
Example 12. Saariaho, sketch of spiral form for Jardin secret II, Sacher Foundation, Basel
Example 13. Formal analysis of Jardin secret II
Example 14. Saariaho, Jardin secret II, annotated score, mm. 1–17, Section A
Examples 15a–c. a) harmonic interpolation;
b) Pitches in left hand vs. right hand;
c) rhythmic interpolation.
Example 16. Saariaho, Jardin secret II, annotated score, mm. 89–112, Section A’’
Examples 17a–c. a) harmonic interpolation in Process 5b;
b) rhythmic convergence in Process 5b;
c) polyrhythmic striation in Processes 5c and 5d
Example 18. Saariaho, IO, annotated score, mm. 24–54 (3 pages)
Example 19. Reduction of rhythmic interpolation processes in IO, mm. 24–54

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