Sequenza (Italian for “sequence”) is the name borne by fourteen compositions for solo instruments or voice by Luciano Berio. The pieces, some of which call for extended techniques, are: Sequenza I (; rev. It’s time to analyse a classic work from Luciano Berio. Let’s hear it for Berio’s Sequenza III, scourge of sopranos across the world. Edwards, Patti Yvonne, Luciano Berio’s Sequenza III: The Use of Vocal Gesture and the Genre of the Mad Scene. Doctor of Musical Arts (Performance), August.

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Articles lacking sources from September All articles lacking sources All stub articles. Author Edwards, Patti Yvonne. By comparing Sequenza III with other works by the same composer, I will delineate some borrowed features and techniques from his earlier music and from the areas of literature and visual art. Description Last Updated June 5,1: Digital Files 41 image files available in multiple sizes 1 file.

More information about this dissertation can be viewed below. Karlheinz Stockhausen, Luciano Berio. Please help improve this article by adding citations to reliable sources. Retrieved from ” https: In the Voice Labyrinth.

In order to control such a wide range of vocal behaviour, I felt I had to break up the text in an apparently devastating way, so as to be able to recuperate fragments from it on different expressive planes, and to reshape them into units that were not discursive but musical. Conversely, Sequenza IX grew out of a piece for clarinet and electronics later withdrawnoriginally known as Chemins V ; NB it is not the same as the work with the same title which originates from Sequenza XI.


What Descriptive information to help identify this dissertation.

Is this the most bizarre and technically difficult piece of vocal music ever written?

Edwards, Patti Yvonne August Sequenza III iij be all of these or something else entirely. Item Type Thesis or Dissertation. Is it performance art or an operatic mad scene?

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This article does not cite any sources. Description Sequenza III was written in the mid s and is widely available for study and performance, but how can this work be defined? In Memoriam Cathy Berberian. I hope to add to the knowledge iji this recently deceased composer and his music, to create a comfort zone for singers in approaching this work, to understand the composer’s intentions, and to provide a fair representation of his ideas in public performance.

Is this the most bizarre and technically difficult piece of vocal music ever – Classic FM

The voice carries always an excess of connotations, whatever it is doing. Descriptive information to help identify this dissertation. This article about a classical composition is a stub. College of Music Grantor: Nel labirinto della voce. Interact With This Dissertation Here are some suggestions for what to do next. UNT Theses and Dissertations Theses and dissertations represent a wealth of scholarly and artistic content created by masters and doctoral students in the degree-seeking process. Sequenza III, although available on several recordings, is still not performed very often outside the academic community.

Un re in ascolto Cronaca del luogo.

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A Garland for Dr. Sequenza III is a piece very much of its era, paralleling other experiments in vocal music and textual meaning such as Cage ‘s Aria and Ligeti ‘s Aventures The notation that Berio has used is new and specific, but the emotional markings and dynamics drawn from iii markings permit a variety of interpretive decisions by the performer.

Writing about my method of preparation will work to allay some of my iik and other performer’s fears about attempting this unusual repertory. Usage Statistics When was this dissertation last used? There is a very brief text and no actual melody, so where does one begin? Classical composition stubs Compositions by Luciano Berio Cycles music.

Sequenza – Wikipedia

University of North Texas. Streams Videos All Posts. Sequenza III was written in the mid s and is widely available for study and performance, but how can this work be defined?

Although Berio and Berberian divorced in the mids, their musical collaboration continued into the s. People and organizations associated with either sequenzq creation of this dissertation or its content.

What responsibilities do I have when using this dissertation?

Very little in this piece is actually performed on pitch, and even then the pitches are not definite.