History Music / YukiKajiura

* ''Anime/BloodTheLastVampire'' ([[UsefulNotes/PlayStation2 PS2]] game only)

* ''Anime/MobileSuitGundamSEED'' and ''[[Anime/MobileSuitGundamSEEDDestiny SEED Destiny]]''(Shared with ToshihikoSahashi.)

Her music ranges from [[OminousLatinChanting Ominous]] ConstructedLanguage [[OminousLatinChanting Chanting]] (''Anime/{{Madlax}}'') to PsychoStrings (''LightNovel/TheGardenOfSinners'') to sweet pop music (many a Franchise/MyHime ImageSong) to lushly instrumented suites (''Anime/{{Noir}}'') to [[GenreMashup whatever her band Kalafina is supposed to be]]. ''Anime/ElCazadorDeLaBruja'' is notable for having [[ShownTheirWork shown Kajiura's work]] in ethnomusicology and the musical traditions of Latin America and the American West, evoking musicians from Daniel Alomia Robles to Music/JohnnyCash and Frankie 'Old Leather Lungs' Laine. She was for a time an impresario for the innovative pop group ALI PROJECT, and brought them into the ''Anime/{{Noir}}'' production. All of this is held together by her adherence to a distinctive blend of classical and folk-based music theory regardless of instruments and tempo and her Romantic-influenced emphasis on melody and circumspectly psychological and spiritual lyrics.

* EternalRecurrence: A major theme that permeates her works. Well okay, the focus is not on the recurrence itself, but [[TheAntiNihilist the Nietzschean or Kierkegaardian strength]] to keep fighting even when the fight seems to be without end, simply because you have a moral reason to fight or a love to live. The theme is reflected best in Consolation, which is also a sort-of image album for ''LightNovel/FateZero'' and ''Anime/PuellaMagiMadokaMagica'', in which the respective main characters fight to break a ViciousCycle.
* {{Fictionary}}: 'Kajiuran', an apparently full-fledged ConstructedLanguage that is [[PostModernism phonotactically and morphologically sophisticated, but semantically meaningless]].
** To elaborate, her singers have said that it isn't meant to be meaningful intellectually but it's set up to guide their vocalisations emotionally and is written out and broken up into 'words' in a way that makes it resemble a Romance or Japonic language.

** Each Kalafina album in general is a spiritual successor to the last, although with major changes such as ''Red Moon'' being darker and less tied to a specific set of soundtracks than ''Seventh Heaven'' (''LightNovel/TheGardenOfSinners'' in ''Seventh Heaven'''s case) and ''After Eden'' including some of the most normally (or least abnormally) psychological work Kajiura has done so far in between songs like 'Magia' and 'Destination Unknown' that could have fit in on ''Red Moon''. ''Consolation'' is more ethereal than ''After Eden'' but somewhat less dark than ''Seventh Heaven'' and ''Red Moon''. Kalafina itself is one to Fiction Junction, although the latter still exists conceptually.

* WorldBuilding: Of sorts. A Kajiura piece for a soundtrack is almost always an exercise in the intersection of Kajiura's 'otherworldly spaces' and worldview with the independent assumptions of the text that it's composed for. Often (''Anime/{{Noir}}'', ''Anime/{{Madlax}}'', ''Anime/ElCazadorDeLaBruja'', ''LightNovel/TheGardenOfSinners'', ''Anime/PuellaMagiMadokaMagica''), this works very well. Sometimes (parts of ''Anime/MyOtome'', ''Manga/FistOfTheNorthStar'') it's a little jarring, and often either the series or the soundtrack ends up a lot more valued and appreciated than the other. Among other things, she likes to musically or lyrically evoke perceptions of the lead characters' gender, age, social status, and so on, which leads to some of the interesting gender ambiguity in her body of work; [[Manga/TsubasaReservoirChronicle some series]] make this a lot easier than [[LightNovel/TheGardenOfSinners others]].

* ''LightNovel/TheGardenOfSinners''

* ''LightNovel/{{Baccano}}'' (Ending Theme)

* ''LightNovel/FateZero''

* ''LightNovel/LordElMelloiIICaseFiles''

* [[UsefulNotes/{{Buddhism}} Buddhism]]: A pretty clear and major influence, more so than in a lot of other contemporary Japanese music, with a lot of imagery expropriated from other religions and secular cultural traditions mixed in. Ends up interestingly syncretistic when she works on things like the tacitly Catholic-seeming Creator/BeeTrain GirlsWithGuns shows.

** [[https://www.youtube.com/watch?v=og0I6irS5jc "She Has to Overcome Her Fear"]] for ''LightNovel/SwordArtOnline''.

* ''LightNovel/SwordArtOnline''

* ''LightNovel/{{Zaregoto}}''

!!She's associated with the following tropes:

* TheCoverChangesTheMeaning: [[http://canta-per-me.net/lyrics/velvet-no-inori/ Velvet no Inori]] (sung by Noriko Ogawa) versus [[http://canta-per-me.net/lyrics/hoshikuzu/ Hoshikuzu]] (sung by Fiction Junction). The former is about being able to feel secure in love for the first time, the latter is about optimistically trying to move on from a relationship that have ended. [[AuthorAppeal Remember kids, if it ain't bittersweet, it ain't Yuki Kajiura!]]

* LyricalDissonance: Every now and then, there is a song who seems rather optimistic of the future. Then you learn that it's about inevitable hurts, tears, disillusionment, and [[UpToEleven some more hurts]]. Case in point: [[http://canta-per-me.net/lyrics/alleluia/ Alleluia]].

** Each Kalafina album in general is a spiritual successor to the last, although with major changes such as ''Red Moon'' being [[UpToEleven darker]] and less tied to a specific set of soundtracks than ''Seventh Heaven'' (''LightNovel/TheGardenOfSinners'' in ''Seventh Heaven'''s case) and ''After Eden'' including some of the most normally (or least abnormally) psychological work Kajiura has done so far in between songs like 'Magia' and 'Destination Unknown' that could have fit in on ''Red Moon''. ''Consolation'' is more ethereal than ''After Eden'' but somewhat less dark than ''Seventh Heaven'' and ''Red Moon''. Kalafina itself is one to Fiction Junction, although the latter still exists conceptually.

* NeoClassicalPunkZydecoRockabilly: In addition to 'classicising' pop music, she also does some fine work in reproducing the sounds of cultures that interest her or are relevant to the projects on which she works.

* ''LightNovel/Baccano'' (Ending Theme)

* ''BloodTheLastVampire'' (PS2 game only)

* WorldBuilding: Of sorts. A Kajiura piece for a soundtrack is almost always an exercise in the intersection of Kajiura's 'otherworldly spaces' and worldview with the independent assumptions of the text that it's composed for. Often (''Anime/{{Noir}}'', ''Anime/{{Madlax}}'', ''Anime/ElCazadorDeLaBruja'', ''LightNovel/TheGardenOfSinners'', ''Anime/PuellaMagiMadokaMagica''), this works very well. Sometimes (parts of ''Anime/MaiOtome'', ''Manga/FistOfTheNorthStar'') it's a little jarring, and often either the series or the soundtrack ends up a lot more valued and appreciated than the other. Among other things, she likes to musically or lyrically evoke perceptions of the lead characters' gender, age, social status, and so on, which leads to some of the interesting gender ambiguity in her body of work; [[Manga/TsubasaReservoirChronicle some series]] make this a lot easier than [[LightNovel/TheGardenOfSinners others]].

* ''Anime/MyHime'' and its pseudo-sequel, ''Anime/MaiOtome''.

** Each Kalafina album in general is a spiritual successor to the last, although with major changes such as ''Red Moon'' being [[UpToEleven darker]] and less tied to a specific set of soundtracks than ''Seventh Heaven'' (''LightNovel/KaraNoKyoukai'' in ''Seventh Heaven'''s case) and ''After Eden'' including some of the most normally (or least abnormally) psychological work Kajiura has done so far in between songs like 'Magia' and 'Destination Unknown' that could have fit in on ''Red Moon''. ''Consolation'' is more ethereal than ''After Eden'' but somewhat less dark than ''Seventh Heaven'' and ''Red Moon''. Kalafina itself is one to Fiction Junction, although the latter still exists conceptually.

* WorldBuilding: Of sorts. A Kajiura piece for a soundtrack is almost always an exercise in the intersection of Kajiura's 'otherworldly spaces' and worldview with the independent assumptions of the text that it's composed for. Often (''Anime/{{Noir}}'', ''Anime/{{Madlax}}'', ''Anime/ElCazadorDeLaBruja'', ''LightNovel/KaraNoKyoukai'', ''Anime/PuellaMagiMadokaMagica''), this works very well. Sometimes (parts of ''Anime/MaiOtome'', ''Manga/FistOfTheNorthStar'') it's a little jarring, and often either the series or the soundtrack ends up a lot more valued and appreciated than the other. Among other things, she likes to musically or lyrically evoke perceptions of the lead characters' gender, age, social status, and so on, which leads to some of the interesting gender ambiguity in her body of work; [[Manga/TsubasaReservoirChronicle some series]] make this a lot easier than [[LightNovel/KaraNoKyoukai others]].

* ''Anime/MyHime'' and it's pseudo-sequel, ''Anime/MaiOtome''.

Her music ranges from [[OminousLatinChanting Ominous]] ConstructedLanguage [[OminousLatinChanting Chanting]] (''Anime/{{Madlax}}'') to PsychoStrings (''LightNovel/KaraNoKyoukai'') to sweet pop music (many a Franchise/MaiHime ImageSong) to lushly instrumented suites (''Anime/{{Noir}}'') to [[GenreMashup whatever her band Kalafina is supposed to be]]. ''Anime/ElCazadorDeLaBruja'' is notable for having [[ShownTheirWork shown Kajiura's work]] in ethnomusicology and the musical traditions of Latin America and the American West, evoking musicians from Daniel Alomia Robles to Music/JohnnyCash and Frankie 'Old Leather Lungs' Laine. She was for a time an impresario for the innovative pop group ALI PROJECT, and brought them into the ''Anime/{{Noir}}'' production. All of this is held together by her adherence to a distinctive blend of classical and folk-based music theory regardless of instruments and tempo and her Romantic-influenced emphasis on melody and circumspectly psychological and spiritual lyrics.

* ''Anime/MaiHime'' and it's pseudo-sequel, ''Anime/MaiOtome''.

* ''LightNovel/KaraNoKyoukai''

* ''Manga/{{Demon Slayer Kimetsu No Yaiba}}'' (Shared with Go Shiina.)

Widely considered second only (or equal) to Music/YokoKanno as an {{Anime}} soundtrack composer, her NeoClassicalPunkZydecoRockabilly sensibilities, ReclusiveArtist tendencies and generally unusual way of life, and undeniable talent have invited comparisons to such figures as Music/EnnioMorricone and Music/LudwigVanBeethoven--amazing compliments, considering her dilettante background and relatively late start in music for a modern artist, not devoting herself to it full-time until about the age of thirty and not reaching major success until thirty-five.

Her music ranges from [[OminousLatinChanting Ominous]] ConstructedLanguage [[OminousLatinChanting Chanting]] (''Anime/{{Madlax}}'') to PsychoStrings (''LightNovel/KaraNoKyoukai'') to sweet pop music (many a Franchise/MaiHime ImageSong) to lushly instrumented suites (''Anime/{{Noir}}'') to [[NeoClassicalPunkZydecoRockabilly whatever her band Kalafina is supposed to be]]. ''Anime/ElCazadorDeLaBruja'' is notable for having [[ShownTheirWork shown Kajiura's work]] in ethnomusicology and the musical traditions of Latin America and the American West, evoking musicians from Daniel Alomia Robles to Music/JohnnyCash and Frankie 'Old Leather Lungs' Laine. She was for a time an impresario for the innovative pop group ALI PROJECT, and brought them into the ''Anime/{{Noir}}'' production. All of this is held together by her adherence to a distinctive blend of classical and folk-based music theory regardless of instruments and tempo and her Romantic-influenced emphasis on melody and circumspectly psychological and spiritual lyrics.

All-in-all, she's generally thought of as a unique, still relatively young musician of great talent, worthy of her widely-perceived status as TheRival to Music/YokoKanno (although they don't seem to bear each other any ill-will at all).

* ''Manga/ChronoCrusade'' (In part.)

* ''Anime/TimeOfEve'' (In part.)

* ''Anime/FateStayNightUnlimitedBladeWorks'' (In part, guest composer.)
* ''Literature/TheHeroicLegendOfArslan'' (In part.)