Professional studies in composition:
Jani Petteri Kääriä, (Kaaria) b.24.12.1969 studied composition in 1992-1998 in Sibelius Academy, Helsinki, Finland  with Eero Hämeenniemi, Anders Eliasson and Kaija Saariaho. Then he has studied in compositional mastercourses with Magnus Lindberg and Anders Hillborg. He has briefly studied also at the University of Miami with Dennis Kam with private funding of this University 1999, and briefly in
New York with Aaron Jay Kernis in 1998.

University valuations: His teachers have normally given valuations to him, about his harmonic  layer- system he has created, because compositional courses in Sibelius- academy, unlike the general, are not been given general marks.
There's more information about his musical tendencys as such in the very end of this homepage


One of the incredible things that has to be noticed that is how much fear there is correlating if you create a  special more glimmering chanceful tarnskendentic chromatism during your studies, it makes obviously the dodecafonists to fear, and me it made put too much energy to pub conversations about music, endlessly, where I should have lived more emotional life all in all.



Having received a small amount of money from Pirkko-Leena Otonkoski, did force me during my studies to try to find extraordinary beauty to my music, to really chance the harmonic field, to use glimmering way, systematically, the extra cromatic notes in the passages, to find a more like universal longing-really like tonalic scales, and as counterbalance the more ¨ horrifying ¨passages, also through studing long, stable transkentic passages, to find all over the world addition to that, emotionally, as  natural forces like a small hurricane-inspired, or pure ancient mysticism to fill the mysterious material muisically with more spiritual effort and elegance.


Perhaps because of this reason and also the encoragment of all my 3 teachers in Sibelius-academy, and afterwards also, I never learned a bit of dodekafony in school and never had to do one dodecafonic practise in Sibelius-academy. I'm happy like this. I created my own vertical glimmering harmony-system to allow tonal layers to waver above each other. More information about this in chapter: ¨technical information¨.

The special use of pianissimo passages, which I now use almost in every work a lot,(as an example in work: ¨Per-Djet¨in the beginning part, and ¨Your color¨also in the beginnig part and the new celloconcerto ¨The Distance of love¨in the beginnig part), I learned with the great Kaija Saariaho. This use has also link to the chapter 3 in my ¨technical information¨ where I explain about orchestration techichs.