Academic literature on the topic 'Cathy Berberian'

In future, those who look to anniversaries as a bulwark against the solvent flow of time will find their thoughts directed at once to Cathy Berberian who died 20 years ago in 1983, and to Luciano Berio, who died in 2003. This is apt enough. Their marriage lasted only fourteen years, from 1950 to 1964. But their creative trajectories were inextricably entwined. One does not get far in discussing the work of one without invoking the other.

Devenu depuis plus d’un demi-siècle facteur idéologique de mythologie quotidienne, le Rock a séduit bon nombre de compositeurs contemporains (John Adams, Luciano Berio, Steve Martland, Theo Loevendie…). Explorant cette problématique, la communication de Pierre Albert Castanet se fonde sur l’histoire contextuelle et interactive du « populaire » et du « savant ». S’attachant notamment à l’instrumentarium symbolique des rockers (orgue électrique, guitare électrique, guitare basse, batterie), l’article se penche sur quelques études de cas allant des musiques de Pierre Henry à Philippe Manoury en passant par celles de Cathy Berberian, György Ligeti ou Tristan Murail…

This essay explores the possibilities and limitations of an écriture féminine musicale in electroacoustic music. Theories by Cox, Dame, and Citron about "women's music" are discussed alongside research on women electroacoustic composers by McCartney and Hinkle-Turner, and analyses of works by Rudow, Isadora, and LaBerge. The operation of gendered musical categories is analysed in the appropriation of Cathy Berberian's "voice" by Berio. Strategies for destabilizing historically gendered categories in music are discussed, including feminine/feminist content, composer-performers, interdisciplinarity, and collaboration. The interdisciplinary character of many women's work may hamper its documentation and thus its survival. The author's research at NEAR/Donemus focuses on this problem.

Diabetes mellitus (DM) and hypertension are 2 of the most prevalent diseases with poor impact on health status worldwide. In most cases, they coexist with other metabolic disorders as well as cardiac, micro- and macrovascular complications. Many plants are known for their hypotensive, cardioprotective, and/or antidiabetic activities. Their active ingredients either identified and isolated or still utilized as herbal preparations of certain plant parts. The use of medicinal plants comprises the main basis for most of the traditional medicine (TM) systems and procedures. As conventional medicines seem insufficient to control such progressive diseases, herbal agents from TM could be used as adjuvant with good impact on disease control and progression as well as other concomitant health conditions. The aim of this study is to compare the efficacy of 10 different herbal medicines of botanical origin or herbal preparations in the management of hypertension and its cardiovascular complications and type 2 DM along with various coexisting health disorders. These herbal medicines are garlic, berberine, resveratrol, Hibiscus sabdariffa, Zizyphus ( oxyphylla, mucronate, jujube, rugosa), hesperidin, red beetroot, Catha edulis, mulberry leaves, and Portulaca oleracea.

Abstract A description is provided for Discostroma fuscellum (Leptosphaeria fuscella), which sometimes causes postharvest rot of apples. Some information on its dispersal and transmission and conservation status is given, along with details of its geographical distribution (Ethiopia, Morocco, South Africa, Canada (British Columbia, Ontario), USA (Alabama, Alaska, Arkansas, California, District of Columbia, Florida, Georgia, Indiana, Kansas, Louisiana, Maine, Maryland, Massachusetts, Michigan, New Jersey, New York, North Dakota, Oklahoma, Oregon, Pennsylvania, Tennessee, Virginia, Washington, West Virginia), Chile, Venezuela, Armenia, Bhutan, China, Republic of Georgia, India (Bihar, Madhya Pradesh), Israel, Japan, Pakistan, Turkey, Australia (New South Wales), New Zealand, Dominican Republic, Puerto Rico, Albania, Austria, Bosnia-Hercegovina, Czech Republic, Denmark, Estonia, Faroe Islands, Finland, France, Germany, Greece, Hungary, Irish Republic, Italy, Lithuania, Moldova, Netherlands, Norway, Poland, Portugal, Romania, Russia (Kursk oblast, Leningradskaya oblast, Lipetsk oblast, Moscow oblast, Smolensk oblast, Tula oblast, Voronezh oblast), Serbia, Slovakia, Spain, Sweden, Ukraine and UK), hosts (Acer rubrum, Acer sp., Alnus glutinosa, Alnus sp., Amelanchier sp., Prunus tenella, Arbutus unedo, Aronia melanocarpa, Bagnisiella sp., Berberis heteropoda, Betula pubescens var. pubescens, Carpinus caroliniana, Carya sp., Catha edulis, Chaenomeles japonica, Epilobium angustifolium, Clitoria ternatea, Comptonia sp., Cornus alba, Cornus alba var. sibirica, Cornus asperifolia, Cornus florida, Cornus mas, Cornus pubescens, Cornus sanguinea, Corylus avellana, Cotinus coggygria, Crataegus chrysocarpa, Crataegus laevigata, Oxyacantha mollis, Crataegus monogyna, Crataegus pinnatifida, Crataegus pinnatifida var. major, Crataegus sp., Cydonia oblonga, Dryas ajanensis subsp. beringensis, Epilobium sp., Eucalyptus globulus, Eucalyptus sp., Euonymus europaeus, Euonymus latifolius, Fraxinus pennsylvanica var. lanceolata, Hippophae rhamnoides, Hyptis suaveolens, Juniperus communis, Juniperus sp., Kerria sp., Prunus laurocerasus, Laurus nobilis, Laurus sp., Rhododendron groenlandicum, Leucopogon sp., Malus baccata, M. domestica, M. hupehensis, M. prunifolia, M. pumila, M. pumila var. domestica, M. sylvestris, Malus sp., Mespilus sp., Paeonia suffruticosa, Paeonia sp., Pentaphylloides friedrichsenii, Philadelphus coronarius, Pimelea ligustrina, Pimelea ligustrina var. hypericina, Populus nigra, Sanguisorba minor, Prunus avium, Prunus domestica, Prunus dulcis, Prunus salicina, Prunus spinosa, Prunus sp., Pyrus communis, Pyrus sp., Quercus pubescens, Q. robur, Q. suber, Quercus sp., Rhododendron catawbiense, Rhododendron japonicum, Rhododendron sp., Ribes alpinum, Ribes americanum, Ribes aureum, Ribes floridum, Ribes frondium, Ribes sp., Rosa alba, Rosa arvensis, Rosa blanda, Rosa canina, Rosa centifolia, Rosa damascena, Rosa davidii, Rosa davurica, Rosa discolor, Rosa virginiana, Rosa multiflora, Rosa nutkana, Rosa odorata, Rosa pimpinellifolia, Rosa rubiginosa, Rosa rugosa, Rosa sherardii, Rosa woodsii, Rosa sp., Rosaceae indet., Rubus armeniacus, Rubus australis, Rubus caesius, Rubus cissoides, Rubus fruticosus, Rubus cockburnianus, Rubus idaeus, Rubus loganobaccus, Rubus macrostemonides, Rubus plicatus, Rubus strigosus, Rubus suberectus, Rubus grabowskii, Rubus inermis, Rubus ursinus, Rubus ursinus var. loganobaccus, Rubus sp., Salix alba, Salix aurita, Salix caprea, Salix fragilis, Salix exigua subsp. interior, Salix longifolia, Salix sp., Sassafras albidum, Sassafras sp., Sorbus aucuparia, Sorbus colchica, Sorbus discolor, Sorbus hostii, Sorbus hybrida, Sorbus intermedia, Sorbus aucuparia subsp. sibirica, Sorbus suecica, Sorbus torminalis, Staphylea pinnata, Staphylea trifolia, Cornus sanguinea subsp. australis, Thuja occidentalis, Ulex europaeus, Ulmus sp., Vaccinium corymbosum, Vaccinium sp., Viburnum lentago, Viburnum tinus, Viburnum sp., Vitis vinifera subsp. sylvestris, Vitis vinifera and Vitis sp.) and associated fungi (Apioporthe vepris, Coryneum foliicola, Diplodia sp., Dothidea ribesia, Glomerella cingulata, Hendersonia foliorum, Pestalotiopsis sp., Phoma pomorum, Phoma sp., Diaporthe incarcerata, Saccothecium sepincola, Seimatosporium caudatum, Seimatosporium pestalozzioides, Seimatosporium rosae, Seimatosporium sp., Seiridium marginatum, Truncatella truncata and Valsa ambiens).

Luciano Berio (1925-2003) was one of the most innovative composers of vocal music in the European avant-garde. His composition for female voice, Circles (1960), marks an important stage in his collaboration with his wife, singer Cathy Berberian (1925-1983). Berio was attracted to Berberian's exceptional talents as a performer, and their work together created new avenues of expression for the solo voice, as Berio explored the relationship between music and language. Drawing upon archival documents, this thesis is a study of the materials and methods that make Circles one of Berio's pivotal works for voice. My interpretation of these sources engages with Berio's approach to pitch and setting a poetic text, as well as with the nature of his collaborations with Berberian.

The musical performer’s embodied experience is an aspect of the performing process that has yet to be adequately considered in music scholarship. The embodied experience is relegated to the realm of the inaccessible and subjective, rather than being considered a valuable source of information for both the music analyst and performer. This thesis contends that the performing body can provide deep insights into musical meaning and can act as a resource for developing musical understanding. The sensations and experiences of the performer’s body during the process of creating music can lead to the recognition of important moments and fundamental meanings within a musical work. Engaging with scholarly literature from a variety of disciplines, this thesis will explore the classical singer’s embodied experience from the three primary perspectives of phenomenology, ecological perceptual theory and body communication theory. Each perspective is explored in and through a comparative listening analysis of Luciano Berio’s work for solo voice Sequenza III per voce femminile (1966) in order to illuminate specific aspects of the singer’s embodied experience. This embodied approach to musical analysis considers the singer’s body as a contributor to not only the production of sound but also to the creation of musical meaning, and can thus offer rich insights into that which is discovered through traditional analysis.

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.

In the late 1950s and 1960s many of the avant-garde composers produced faux-language pieces—both electronic and acoustic—that took the continuum between speech and music as their primary interest. These similar pieces belie common sources of inspiration. In heterogeneous studios such as the WDR in Cologne and RAI in Milan, composers interacted with linguists and phonetics scientists, read James Joyce together, studied acoustics, and deconstructed recorded speech. The phonetics teachings of Meyer-Eppler, alongside demonstrations of technologies like Bell Labs’ Vocoder, provided much inspiration to avant-garde composers, who used both human and electronic means to isolate and re-create linguistic phonemes. In many of the works, Cathy Berberian’s voice became a particular fascination, serving to feminize and domesticate the provocative sounds. As composers navigated the messy nexus among humans, machines, music, and language, they raised important questions about what it meant to be human in a technologically infused Cold War world. Broadly speaking, the faux-language works performed neutralizations of military technologies like the Vocoder. However tenuous and incomplete these reclamations seem, midcentury electronic music began to recast Cold War technophobic fears.