Berio's Sequenzas: Essays on Performance, Composition and Analysis
- Editor: Halfyard, Janet K.
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 —
Book
$77.75Out of Stock
Contents
- 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 MarcA lio 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.