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
| Identifer | oai:union.ndltd.org:UBC/oai:circle.library.ubc.ca:2429/6234 |
| Date | 05 1900 |
| Creators | Wyber, Leslie Paulette |
| Source Sets | University of British Columbia |
| Language | English |
| Detected Language | English |
| Type | Text, Thesis/Dissertation |
| Format | 4373054 bytes, application/pdf |
| Rights | For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use. |
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