Bibliografie tematiche / Sinfonia (Berio, Luciano)

Letteratura scientifica selezionata sul tema "Sinfonia (Berio, Luciano)"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Sinfonia (Berio, Luciano)"

1

Negrete, Fernanda. "Beckett et Berio à l’ écoute de voix innommables". Samuel Beckett Today / Aujourd’hui 30, n. 2 (24 settembre 2018): 196–210. http://dx.doi.org/10.1163/18757405-03002005.

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Abstract (sommario):
Résumé Cet article propose un dialogue intermédial entre L’ innommable de Beckett et la Sinfonia de Luciano Berio, où l’ on entend des fragments de The Unnamable, afin d’ entreprendre une analyse des questions de la voix, de la subjectivité, et de leur irréductible expérience hétérogène face à la parole et au langage. Sinfonia incite à une entente non-narrative du texte beckettien en français, là où la folle multiplication de sens nous heurte, à travers les énoncés musicaux beckettiens, au non-dit et à l’ indicible. Le Purgatoire de Dante fournit la “scène primitive” qui suscite telle disruption essentielle du sens et d’ une lecture linéaire chez Beckett. L’ article conclut par une réflexion autour de la fonction résonnante de l’ eau dans Sinfonia et dans L’ Innommable.
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2

Miranda, Paulo Agenor. "Luciano Berio, restaurador: análise de Rendering per orchestra (1988-90)". ouvirOUver 15, n. 1 (17 giugno 2019): 172–90. http://dx.doi.org/10.14393/ouv24-v15n1a2019-12.

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Abstract (sommario):
Em Rendering, Berio propôs-se restaurar os esboços da décima sinfonia que ocupou Schubert em suas últimas semanas de vida. Este artigo investiga sua atuação sobre o texto musical schubertiano, desvelando o profícuo engajamento do compositor italiano com as vanguardas artísticas do século XX e, ao mesmo tempo, seu diálogo com importantes realizações da tradição musical. Evitando uma intervenção fantasiosa, a obra orienta-se pelas "linhas da restauração moderna de afrescos que visam reviver as cores antigas sem, contudo, disfarçar o dano causado pelo tempo" (BERIO, 1989). A hipótese norteadora é que os procedimentos escriturais adotados por Berio são implicitamente engajados nos preceitos da Teoria da Restauração (1963) de Cesare Brandi, ícone do restauro crítico italiano. As análises das estratégias composicionais do primeiro movimento de Rendering esclarecem, de um lado, o trabalho sobre a orquestração e contraponto visando reviver as cores de Schubert e, de outro, a intervenção sobre as lacunas entre os fragmentos através de uma argamassa musical tipicamente beriana.
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3

Bond, Rose. "Visualizing Berio’s Sinfonia: Choreographing Animation for Indeterminate Narratives". International Journal of Film and Media Arts 6, n. 2 (17 dicembre 2021): 63–74. http://dx.doi.org/10.24140/ijfma.v6.n2.04.

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Abstract (sommario):
In 1968, a year of massive political and cultural upheaval, Luciano Berio composed a score that would shape his legacy. Entitled Sinfonia, which literally means sounding together, the symphony was sparked by the assassination of Martin Luther King. Heralded as “the ultimate pre-postmodernist musical palimpsest” (Service, 2012). Sinfonia reverberates with the political assassinations and massive protests punctuated by police repression that marked 1968. In late 2019, I was offered an animated projection commission with a primary voice in choosing a piece for live symphonic performance/projection. After some researching, I found Berio’s Sinfonia. It had what I was looking for - a “contemporary” piece, it resisted illustration, linear narrative and 19th century romanticism while eschewing the rigid formality of serialism. Instead, it embraced two core Modernist principles – fragmentation and use of the archive. Berio quoted/sampled disparate chunks of literature, music, and events of 1968 in the service of the political and the poetic to discover unity in the heterogeneous. His score seemed ripe for visual interpretation - and exposition - with animation as the prime driver. Following Berio’s lead, I chose visual sampling as my entre and turned to Google. By animating in and out of iconic (and lesser known) images in the orb of 1968, I created a commensurate puzzle piece that mirrored the suggested avant-garde intent I found in Sinfonia – “Where now? Who now? When now?” (Beckett, 1965, p. 291).
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4

Miller, Malcolm. "London, South Bank and RAM: ‘Omaggio: a Celebration of Luciano Berio’". Tempo 59, n. 231 (gennaio 2005): 41–44. http://dx.doi.org/10.1017/s0040298205240056.

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Abstract (sommario):
The fortnight-long celebration Omaggio to the late Luciano Berio, held 15–30 April 2004, explored the post-modern passion and exuberance of the composer's musical personality, from the experimental daring and fun of the era of new music of the 1960s to the more searching multi-cultural tapestries of the final decades and his last works. Large audiences drawn from all ages enjoyed a wide range of Berio's works at the South Bank Centre and the Royal Academy of Music, including several UK premières including Stanze, his last work, as well as seminal pieces such as Sinfonia, Laborintus II, the fourteen Sequenzas, and electronic music, performed by leading virtuosi and ensembles. Overall, the festival represented a significant and memorable tribute to one of the leading figures of new music in the second half of the 20th century.
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Tesi sul tema "Sinfonia (Berio, Luciano)"

1

Flinn, John W. "Reconstructive Postmodernism, Quotation, and Musical Analysis: A Methodology with Reference to the Third Movement of Luciano Berio's Sinfonia". University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322489.

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2

Lee, Gui Hwan. "The Roots of Texture as a Structural Agent in Luciano Berio’s Sincronie for String Quartet (1964), as Seen in His Early 1960s Orchestral Works, Nones, Tempi Concertati, Allez-hop, and Epifanie as well as Late 1960s Work, Sinfonia". University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504801778724386.

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3

"The correlation between music and text in Luciano Berio's Sinfonia (1968-9)". 2000. http://library.cuhk.edu.hk/record=b5895801.

Testo completo
Abstract (sommario):
Ho Kar Man.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (leaves 123-127).
Abstracts in English and Chinese.
Chapter Chapter 1 --- Introduction --- p.1
Chapter Chapter 2 --- The First Movement: the Mythologiques --- p.11
Chapter Chapter 3 --- The Second Movement: “O King´ح --- p.27
Chapter Chapter 4 --- The Third Movement: the Scherzo --- p.54
Chapter Chapter 5 --- The Fourth Movement: “Rose de sang´ح --- p.84
Chapter Chapter 6 --- The Fifth Movement: a Synthesis --- p.96
Chapter Chapter 7 --- Conclusion --- p.110
Appendix I Luciano Berio's Compositions from 1958 to1968 --- p.116
"Appendix II The Poem ""Des Antonius von Padua Fischpredigt"" and its English Translation" --- p.118
Appendix III Integral Texts Applied in the Fifth Movement --- p.120
Bibliography --- p.123
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Libri sul tema "Sinfonia (Berio, Luciano)"

1

Playing on words: A guide to Luciano Berio's Sinfonia. London: Royal Musical Association, 1985.

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2

Playing on Words: A Guide to Luciano Berio's Sinfonia. Taylor & Francis Group, 2017.

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3

Playing on Words: A Guide to Luciano Berio's Sinfonia. Taylor & Francis Group, 2017.

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4

Playing on Words: A Guide to Luciano Berio's Sinfonia. Taylor & Francis Group, 2017.

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Capitoli di libri sul tema "Sinfonia (Berio, Luciano)"

1

Berio, Luciano. "Luciano Berio". In Samuel Beckett and Music, 189–90. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198184270.003.0014.

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Abstract (sommario):
Abstract I composed the Sinfonia,which is for eight voices and orchestra, in 1968. The third, central section of this work develops many different musical layers which are partially generated by the Scherzo of Mahler’s Second Symphony. The text, sung and spoken by the eight voices, is taken from Beckett’s The Unnamable,and it generates other verbal layers. It would be too complicated to describe the musical criteria behind the employment-analogous in some respectsof a musical text by Mahler and a literary text by Beckett. They are immensely distant from each other, but at the same time they share an awareness-different though it is-of time past: Mahler developing it and commenting upon it, Beckett stoically pre-empting it and systematically suspending it.
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Rapporti di organizzazioni sul tema "Sinfonia (Berio, Luciano)"

1

Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, agosto 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Abstract (sommario):
Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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