Diss.--Zürich, 1994. / Bibliogr. p. 167-177.

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by 4 recitals, recorded Apr. 10, 2000, Mar. 11, 2002, Nov. 24, 2003, and July 5, 2004. Includes bibliographical references and discography (p. 34-37).

Thesis (M.M.)--Baylor University, 2006. / Includes bibliographical references (p. 150-152).

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains x, 71 p. : music. Includes bibliographical references.

The aim of my graduated work is the enter into problem of studies contemporary composition at the background of development music of the second half of 20th century. The work is aimed at the composition of Luciano Berio Sequenza XII. Bassoonists, who would like to study this work or studying it now, I can help them according to my practising experiences up to now and convince them how to win this "fight"

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This document examines Luciano Berio's Cinque Voriationi for solo piano (1952-3, rev. 1966) from the perspective of a performer seeking to convey something of the organization of its musical material to a broad audience. Criteria for identifying elementary partitioning (pulse) and grouping (gesture, phrase segments, and phrases) are explored. In analysing relationships between phrases and phrase groups several things must be considered: specific pitch issues, distinctions between primary and auxiliary or accompanimental material, and contour. Throughout the document, suggestions are given for successful realization of fundamental grouping structures in performance. Although the piece has elements of serial construction, it is primarily underlying linear motion which gives sections cohesiveness. Also, certain pitch classes are given special emphasis and become vital reference points. The placement of and linear movement around these emphasized pitch classes create traditional tonal implications, to varying degrees throughout the work. Cinque Variationi is a set of variations for which no theme is provided, and it is far from obvious what is being varied. After examining the grouping structures of this piece, it becomes clear that variations refer to each other in unsystematic ways, and that pitch centers serve as reference points across variations.

This document examines Luciano Berio's Cinque Voriationi for solo piano (1952-3, rev. 1966) from the perspective of a performer seeking to convey something of the organization of its musical material to a broad audience. Criteria for identifying elementary partitioning (pulse) and grouping (gesture, phrase segments, and phrases) are explored. In analysing relationships between phrases and phrase groups several things must be considered: specific pitch issues, distinctions between primary and auxiliary or accompanimental material, and contour. Throughout the document, suggestions are given for successful realization of fundamental grouping structures in performance. Although the piece has elements of serial construction, it is primarily underlying linear motion which gives sections cohesiveness. Also, certain pitch classes are given special emphasis and become vital reference points. The placement of and linear movement around these emphasized pitch classes create traditional tonal implications, to varying degrees throughout the work. Cinque Variationi is a set of variations for which no theme is provided, and it is far from obvious what is being varied. After examining the grouping structures of this piece, it becomes clear that variations refer to each other in unsystematic ways, and that pitch centers serve as reference points across variations. / Arts, Faculty of / Music, School of / Graduate

En 1955, Luciano Berio obtient de la R.A.I. l’autorisation de créer, dans les locaux milanais de la radio, le Studio di Fonologia, premier studio européen mêlant musique concrète et musique électronique. Ce lieu, dont il définira tout autant les statuts que les différents appareillages, va devenir pour lui durant six ans un lieu de production effrénée de radiodrames pour la R.A.I., mais également un laboratoire de recherches personnelles. Entouré par un cercle d’avant-garde, très au fait des publications scientifiques de son temps - notamment dans le domaine de la linguistique, de la théorie musicale, et du structuralisme - il va plonger de façon empirique au cœur la matière vocale. La situation acousmatique du studio, l’absence d’interprètes, la dimension poétique et théâtrale du langage vont l’amener à se questionner sur l’écoute, et, dans une pensée brechtienne, sur l’écoute de l’écoute. Nous tentons de dégager, dans notre travail, en partant de la réalité du travail en studio, les éléments qui ultérieurement ont fusionné pour devenir le style bérien et qui sont déjà en germe ou même parfaitement identifiables durant cette période qui va de Chamber Music à Laborintus II. / In 1955 the R.A.I. granted Luciano Berio permission to create the Studio di Fonologia in their Milan radio studios, the first European studio to combine “musique concrète” and purely electronic music. He was able to choose the equipment and define the usage of the studio so that it became a place where he would produce radio dramas for the R.A.I. at a furious pace for six years as well as a laboratory for personal research. Surrounded by a circle of avant-garde personalities, very aware of scientific publications of his time - notably in the domains of linguistics, musical theory and structuralism - he will dive in an empirical way into the heart of vocal material. The acousmatic nature of the studio, the absence of live performers, and the poetic and theatrical dimension of language will lead him to ask himself about the notion of listening, and in a Brechtian way, about listening to listening. We will attempt in our work to reveal - from his actual studio work - the elements which later merged to become the Berian style and which were already germinating or even perfectly recognizable during the period from Chamber Music to Laborintus II.