Bibliographies thématiques / Sinfonia (Berio, Luciano)

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Littérature scientifique sur le sujet « Sinfonia (Berio, Luciano) »

Auteur : Grafiati
Publié le 25 juillet 2024
Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Sinfonia (Berio, Luciano)"

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Negrete, Fernanda. "Beckett et Berio à l’ écoute de voix innommables." Samuel Beckett Today / Aujourd’hui 30, no. 2 (2018): 196–210. http://dx.doi.org/10.1163/18757405-03002005.

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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 disrupti
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Miranda, Paulo Agenor. "Luciano Berio, restaurador: análise de Rendering per orchestra (1988-90)." ouvirOUver 15, no. 1 (2019): 172–90. http://dx.doi.org/10.14393/ouv24-v15n1a2019-12.

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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
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Bond, Rose. "Visualizing Berio’s Sinfonia: Choreographing Animation for Indeterminate Narratives." International Journal of Film and Media Arts 6, no. 2 (2021): 63–74. http://dx.doi.org/10.24140/ijfma.v6.n2.04.

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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/projectio
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Miller, Malcolm. "London, South Bank and RAM: ‘Omaggio: a Celebration of Luciano Berio’." Tempo 59, no. 231 (2005): 41–44. http://dx.doi.org/10.1017/s0040298205240056.

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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 fou
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CHOI, MISTY. "The Eternal Path between Sound and Sense: Luciano Berio's Linguistic Exploration in Sinfonia and Coro." Twentieth-Century Music, February 4, 2025, 1–35. https://doi.org/10.1017/s1478572224000227.

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Abstract This study examines Luciano Berio's integration of twentieth-century linguistic and semiotic concepts in his works Sinfonia and Coro, focusing on the interplay between sound, meaning, and structure. It highlights Berio's exploration of the unconscious mind and the idea of ‘universality of experience', suggesting that humans may possess an innate musical ability similar to that of language. The article also discusses the concept of the ‘theatre of the mind', where Berio combines musical and textual elements to evoke images or situations for the audience's interpretation. Through an ana
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Thèses sur le sujet "Sinfonia (Berio, Luciano)"

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

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Ho Kar Man.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.<br>Includes bibliographical references (leaves 123-127).<br>Abstracts in English and Chinese.<br>Chapter Chapter 1 --- Introduction --- p.1<br>Chapter Chapter 2 --- The First Movement: the Mythologiques --- p.11<br>Chapter Chapter 3 --- The Second Movement: “O King´ح --- p.27<br>Chapter Chapter 4 --- The Third Movement: the Scherzo --- p.54<br>Chapter Chapter 5 --- The Fourth Movement: “Rose de sang´ح --- p.84<br>Chapter Chapter 6 --- The Fifth Movement: a Synthesis --- p.96<br>Chapter Chapter 7 --- Conclusion --- p
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Livres sur le sujet "Sinfonia (Berio, Luciano)"

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

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

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

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

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Chapitres de livres sur le sujet "Sinfonia (Berio, Luciano)"

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

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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 sh
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Rapports d'organisations sur le sujet "Sinfonia (Berio, Luciano)"

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

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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 a
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