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1958 veröffentlichte Luciano Berio seine erste Sequenza, die Sequenza per flauto solo, welche 1992 durch eine revidierte Fassung bei Universal Edition als Sequenza I ersetzt wurde. Aufgrund von zu freien Interpretationen hat er dabei die offene Rhythmik eliminiert, wodurch insbesondere die Bewertung Umberto Ecos als Kunstwerk in Bewegung infrage gestellt wird. Dieser Beitrag möchte zunächst die Notation der beiden Fassungen der Sequenza sowie ihre Interpretationen miteinander vergleichen, um anschließend Ecos Einstufung als Kunstwerk in Bewegung zu überprüfen. Dabei stellt sich heraus, dass einerseits auch die Version von 1992 Ambivalenzen beinhaltet, andererseits Interpretierende die erste Fassung von 1958 aufgrund der offenen Notation in der Praxis bevorzugen. Die neue Fassung gestattet somit tatsächlich weniger Spielräume in der Ausführung, dennoch ist Ecos Deutung der Urfassung als offenes Kunstwerk letztendlich nicht als Missverständnis zu werten, zumal Berio die Veröffentlichung dieser Hypothese direkt mitverfolgte. / In 1958 Luciano Berio published his first Sequenza, the Sequenza per flauto solo, which was replaced in 1992 by a revised version at Universal Edition as Sequenza I. Due to overly free interpretations, Berio eliminated the open rhythms calling into question Umberto Eco’s estimation of the piece as an example of a ‘work in motion’. This article will first compare the notation of the Sequenza’s two versions in order to then review Eco’s classification as a ‘work in motion’. It turns out that, on the one hand, the 1992 version also contains ambivalences, and on the other hand, performers prefer to use the 1958 version because of its open notation. Thus, the new edition indeed allows less leeway in execution, yet Eco’s characterisation of the original version as an open work of art cannot be considered as a misunderstanding, since Luciano Berio directly followed the publication of this hypothesis.

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T12:56:10Z (GMT). No. of bitstreams: 1 Penha_GustavoRodrigues_M.pdf: 6936744 bytes, checksum: 7acb5e659563bf1478fe72c57654ad86 (MD5) Previous issue date: 2010 / Resumo: Este trabalho busca compreender o conceito de reescritura e aplicá-lo na análise de peças compostas durante os séculos XX e XXI. Num primeiro momento são delimitadas os campos de atuação da noção de reescritura tal como a compreendemos, a partir de uma fundamentação teórica provinda principalmente na crítica literária pós-estruturalista, em textos de autores como Gérard Genette, Monique Goullet e Anne-Claire Gignoux. Entretanto, a parte mais extensa do trabalho está na análise de diferentes ferramentas e operadores composicionais relacionados à reescritura na música, que serão observados em Monumentum, de Igor Stravinsky, Chemins IV de Luciano Berio, AN de Stefano Gervasoni, e Passo de Manoel Dias de Silvio Ferraz. Como parte da pesquisa há também a partitura e uma breve análise de entorno de nenhum, nehuma, peça composta pelo autor deste trabalho, com o intuito da aplicação direta da ideia da reescritura numa prática composicional própria / Abstract: This works seeks to understand the concept of re-writing and apply it in theanalysis of musical works composed in the XX and XXI centuries. Firstly, the practice areas of the notion of rewriting are delimited, as we understand it, from a theorical approach stemmed mainly in post-structuralist literary criticism in texts by authors such as Gérard Genette, Monique Goullet and Anne-Claire Gignoux. However, the most extensive part of this work is the analysis of different tools and compositional operators related to rewriting on music, which will be observed in Monumentum of Igor Stravinsky, Luciano Berio of Chemins IV, AN of Stefano Gervasoni, and Passo de Manoel Dias of Silvio Ferraz. As part of the research there is also the score and a brief analysis of entorno de nenhum, nenhuma, piece composed by the author of this work, with the intention of the direct application of the idea of rewriting in his own compositional practice / Mestrado / Processos Criativos / Mestre em Música

Thesis (Ph. D.)--State University of Iowa, 1964. / Includes bibliographical references (leaves 373-380).

Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.

This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein.

This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life. This thesis comes out of my own experience as a performer and is informed both by theoretical discourse and practical experimentation in the theatre. Exploring the voice as a liminal, transgressive force requires analysis from an experiential perspective.

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