Berio's Sequenzas: Essays on Performance, Composition and Analysis
Editat de Janet K. Halfyarden Limba Engleză Paperback – 11 oct 2016
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Specificații
ISBN-13: 9781138247994
ISBN-10: 1138247995
Pagini: 332
Dimensiuni: 156 x 234 x 29 mm
Greutate: 0.53 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Locul publicării:Oxford, United Kingdom
ISBN-10: 1138247995
Pagini: 332
Dimensiuni: 156 x 234 x 29 mm
Greutate: 0.53 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Locul publicării:Oxford, United Kingdom
Cuprins
Contents: Foreword; Introduction, David Osmond-Smith. Part 1 Performance Issues: Rhythm and timing in the two versions of Sequenza I for flute solo: psychological and musical differences in performance, Cynthia Folio and Alexander Brinkman; Rough romance: Sequenza II for harp as study and statement, Kirsty Whatley; Phantom rhythms, hidden harmonies: the use of the Sostenuto pedal in Berio's Sequenza IV for piano, leaf and sonata, Zoe Browder Doll; A dress or a straightjacket? Facing the questions of structure and periodicity posed by the notation of Berio's Sequenza VII for oboe, Patricia Alessandrini; Shadow boxing: Sequenza X for trumpet and piano resonance, Jonathan Impett. Part 2 Berio's Compositional Process and Aesthetics: Provoking acts: the theatre of Berio's Sequenzas, Janet K. Halfyard; The Chemins series, Paul Roberts; The compass of communications in Sequenza VIII for violin, Eugene Montague; Sequenza IX for clarinet: text, pre-text, con-text, Andrea Cremaschi; Proliferations and limitations: Beroi's reworking of the Sequenzas, Edward Venn. Part 3 Analytical Approaches: Vestiges of twelve-tone practice as compositional process in Berio's Sequenza I for solo flute, Irna Priore; Sonic complexity and harmonic syntax in Sequenza IV for piano, Didier Guigue and MarcÃlio Fagner Onofre; The nature of expressivity in Berio's Sequenza VI for viola, Amanda Bayley; A polyphonic type of listening in and out of focus: Berio's Sequenza XI for guitar, Mark D. Porcaro; ...and so a chord consoles us: Berio's Sequenza XIII (Chanson) for accordion, Thomas Gartmann. Bibliography; Discography; Index.
Notă biografică
Janet K. Halfyard is a senior lecturer at UCE Birmingham Conservatoire. Her research includes work on Luciano Berio, Cathy Berberian, extended vocal technique and performance practice issues in contemporary repertoire, and she is active as a performer with the contemporary music ensemble, decibel. Her publications also include work on film and television music: she is the author of Danny Elfman’s Batman: a film score guide (2004) in the Scarecrow Press Film Score Guide series and has contributed to European Film Music (2006) in Ashgate’s Popular and Folk Music series.
Recenzii
’... contains much valuable, insightful commentary...’ Studies in Musical Theatre ’...the first serious contribution to the understanding of this very important part of Berio's compositional output....in addition to these specialist essays covering different aspects of confronting Berio's compositions and abounding in examples from the scores, statistical and graphical respresentation of the research results etc., the book offers an extensive bibliography on Berio and his work, listing of the editions of the Sequenza and the Chemins, a discography register and an index. As such, it surely represents a piece of inevitable literature for experts researching both Berio's work, and composition of the 20th century in general.’ International Review of the Sociology and Aesthetics of Music '... a number of musicological fields - solo performance studies, later 20th-century aesthetics, issues of the work-concept - are all the richer for this stimulating volume.' Tempo
Descriere
The Sequenza series is one of the most remarkable achievements of the late twentieth century - a collection of virtuoso pieces that explores the capabilities of a solo instrument and its player, making extreme technical demands of the performer whilst developing the musical vocabulary of the instrument in compositions so assured and so distinctive that each piece both initiates and potentially exhausts the repertoire of a new genre. In this book contributors demonstrate the richness of this repertoire and the many levels on which Berio and these landmark compositions can be considered.