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Nones (Berio)

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flanking that central note contains both the minor and major third. The row in fact includes four of the six possible permutations of this core trichord, guaranteeing a permanent atonal equilibrium.
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used was nontraditional in construction in several respects including number of pitches and consistent emphasis on intervals of
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The Modification and Instrumentation of a Famous Hornpipe as a Merry and Altogether Sincere Homage to Uncle Alfred
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Probasco, Robert C. 1968. "A Study of Some Performance Problems in Contemporary Music: An Oboist's View of Berio,
688: 857: 229: 575: 356: 109: 757: 84:, Op. 24, which it strongly resembles. Its combination of major and minor thirds is also prevalent in 653: 497: 238: 671: 116: 76:. A note in Berio's sketches confirms that he consciously derived it from the trichordal cell of 771: 628: 349: 267: 465: 695: 458: 335: 272: 646: 8: 862: 794: 22: 802: 563: 255: 451: 433: 403: 293: 58: 46: 678: 570: 396: 247: 49:, but also the agony of modern man. The purely instrumental piece is predominantly 91: 791: 596: 582: 472: 285: 85: 798: 331: 841: 372: 320: 34: 26: 589: 543: 531: 77: 292:. Cambridge Introductions to Music. New York: Cambridge University Press. 722: 712: 539: 527: 519: 515: 73: 69: 50: 38: 535: 523: 511: 259: 147: 54: 30: 728: 504: 251: 143: 96: 65: 42: 341: 479: 103:, symmetrical about the central tone with one note (D) repeated 622:
Quattro versioni originali della "Ritirata notturna di Madrid"
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Two Interviews with Rossana Dalmonte and Bálint András Varga
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Audio playback is not supported in your browser. You can
183: 232:(Summer 1989). "Exorcism and Epiphany: Luciano Berio's 195: 755: 171: 53:in texture and formally consists of an approximate 45:, inspired by the poem, representing not only the 839: 338:". M.A. Thesis. Lincoln: University of Nebraska. 136:Berio's row is symmetrical around the central A 822: 357: 266: 213: 165: 718:Studio di fonologia musicale di Radio Milano 270:(January 1958). "Current Chronicle: Italy". 126:Webern's tone row for the Concerto, Op. 24, 829: 815: 364: 350: 284: 201: 90: 323:. 1978. "Un inedito di Bruno Maderna". 290:The Cambridge Introduction to Serialism 41:, and was originally intended to be an 840: 428:Concerto for Two Pianos and Orchestra 345: 228: 189: 177: 128:from which Berio derived the row for 778: 33:. The piece is named for the poem, " 853:Compositions for symphony orchestra 13: 307: 14: 879: 371: 782: 765: 742: 741: 687: 574: 325:Nuova Rivista Musicale Italiana 1: 848:Compositions by Luciano Berio 153: 801:. You can help Knowledge by 112: 7: 868:Classical composition stubs 10: 884: 777: 739: 705: 663: 654:Requiem of Reconciliation 638: 606: 555: 489: 443: 413: 388: 379: 239:Perspectives of New Music 672:Thema (Omaggio a Joyce) 313:Berio, Luciano. 1985 . 268:Smith Brindle, Reginald 117:download the audio file 57:created by "theme" and 104: 790:This article about a 696:Recital I (for Cathy) 273:The Musical Quarterly 94: 647:A Garland for Dr. K. 382:List of compositions 192:, pp. 254, 267. 858:Serial compositions 732:(completed in 2002) 664:Other compositions 490:Instrumental music 327:12, no. 4:517–520. 214:Smith Brindle 1958 166:Smith Brindle 1958 105: 810: 809: 753: 752: 548: 498:Cinque variazioni 404:Cronaca del luogo 299:978-0-521-68200-8 121: 47:Passion of Christ 875: 831: 824: 817: 786: 779: 770: 769: 768: 761: 745: 744: 706:Related articles 691: 578: 508: 414:Orchestral works 397:Un re in ascolto 366: 359: 352: 343: 342: 303: 286:Whittall, Arnold 281: 263: 217: 211: 205: 199: 193: 187: 181: 175: 169: 163: 141: 140: 883: 882: 878: 877: 876: 874: 873: 872: 838: 837: 836: 835: 776: 772:Classical music 766: 764: 756: 754: 749: 735: 701: 659: 634: 602: 597:Cries of London 551: 485: 439: 409: 384: 375: 370: 310: 308:Further reading 300: 220: 212: 208: 200: 196: 188: 184: 176: 172: 164: 160: 156: 146:segment of the 138: 137: 134: 133: 132: 127: 124: 123: 122: 120: 12: 11: 5: 881: 871: 870: 865: 860: 855: 850: 834: 833: 826: 819: 811: 808: 807: 787: 775: 774: 751: 750: 740: 737: 736: 734: 733: 725: 720: 715: 709: 707: 703: 702: 700: 699: 692: 682: 675: 667: 665: 661: 660: 658: 657: 650: 642: 640: 639:Collaborations 636: 635: 633: 632: 629:Op. 120, No. 1 625: 618: 610: 608: 604: 603: 601: 600: 593: 586: 579: 567: 559: 557: 553: 552: 550: 549: 501: 493: 491: 487: 486: 484: 483: 476: 469: 462: 455: 447: 445: 441: 440: 438: 437: 430: 425: 417: 415: 411: 410: 408: 407: 400: 392: 390: 386: 385: 380: 377: 376: 369: 368: 361: 354: 346: 340: 339: 328: 321:Maderna, Bruno 318: 309: 306: 305: 304: 298: 282: 264: 252:10.2307/833415 246:(2): 252–268. 230:Hicks, Michael 219: 218: 206: 204:, p. 195. 194: 182: 180:, p. 258. 170: 157: 155: 152: 125: 114: 111: 108: 107: 106: 95:Thirteen-note 9: 6: 4: 3: 2: 880: 869: 866: 864: 861: 859: 856: 854: 851: 849: 846: 845: 843: 832: 827: 825: 820: 818: 813: 812: 806: 804: 800: 796: 793: 788: 785: 781: 780: 773: 763: 762: 759: 748: 738: 731: 730: 726: 724: 721: 719: 716: 714: 711: 710: 708: 704: 698: 697: 693: 690: 686: 685:Laborintus II 683: 681: 680: 676: 674: 673: 669: 668: 666: 662: 656: 655: 651: 649: 648: 644: 643: 641: 637: 631: 630: 626: 624: 623: 619: 617: 616: 612: 611: 609: 605: 599: 598: 594: 592: 591: 587: 585: 584: 580: 577: 573: 572: 568: 566: 565: 561: 560: 558: 554: 546: 545: 541: 537: 533: 529: 525: 521: 517: 513: 507: 506: 502: 500: 499: 495: 494: 492: 488: 482: 481: 477: 475: 474: 470: 468: 467: 463: 461: 460: 459:Chamber Music 456: 454: 453: 449: 448: 446: 444:Chamber music 442: 436: 435: 431: 429: 426: 424: 423: 419: 418: 416: 412: 406: 405: 401: 399: 398: 394: 393: 391: 387: 383: 378: 374: 373:Luciano Berio 367: 362: 360: 355: 353: 348: 347: 344: 337: 333: 329: 326: 322: 319: 316: 312: 311: 301: 295: 291: 287: 283: 279: 275: 274: 269: 265: 261: 257: 253: 249: 245: 241: 240: 235: 231: 227: 226: 225: 224: 216:, p. 98. 215: 210: 203: 202:Whittall 2008 198: 191: 186: 179: 174: 168:, p. 97. 167: 162: 158: 151: 149: 145: 131: 118: 102: 98: 93: 89: 87: 83: 79: 75: 71: 67: 62: 60: 56: 52: 48: 44: 40: 36: 32: 28: 27:Luciano Berio 24: 20: 19: 803:expanding it 789: 727: 694: 684: 677: 670: 652: 645: 627: 620: 613: 607:Arrangements 595: 588: 581: 569: 562: 510: 503: 496: 478: 471: 464: 457: 450: 432: 421: 420: 402: 395: 324: 314: 289: 280:(1): 95–101. 277: 271: 243: 237: 233: 222: 221: 209: 197: 185: 173: 161: 135: 129: 100: 74:minor thirds 63: 21:(1954) is a 17: 16: 15: 795:composition 723:Tempo Reale 713:Polystylism 556:Vocal music 466:DiffĂ©rences 389:Stage works 336:Stockhausen 142:, and each 39:W. H. Auden 29:scored for 23:composition 863:Variations 842:Categories 564:Folk Songs 190:Hicks 1989 178:Hicks 1989 154:References 148:hexachords 144:trichordal 86:Stravinsky 59:variations 792:classical 452:Due pezzi 434:Rendering 31:orchestra 747:Category 729:Turandot 679:Epifanie 571:Sinfonia 505:Sequenza 288:(2008). 139:♭ 97:tone row 82:Concerto 66:tone row 51:punctual 43:oratorio 583:A-Ronne 473:Circles 223:Sources 758:Portal 480:Kol-Od 334:, and 332:Carter 296:  260:833415 258:  78:Webern 37:", by 797:is a 422:Nones 256:JSTOR 234:Nones 130:Nones 101:Nones 99:from 70:major 35:Nones 18:Nones 799:stub 590:Coro 294:ISBN 72:and 64:The 55:arch 544:XII 532:VII 248:doi 236:". 80:'s 25:by 844:: 542:, 540:XI 538:, 534:, 530:, 528:VI 526:, 522:, 520:IV 518:, 516:II 514:, 278:44 276:. 254:. 244:27 242:. 61:. 830:e 823:t 816:v 805:. 760:: 547:) 536:X 524:V 512:I 509:( 365:e 358:t 351:v 302:. 262:. 250:: 119:.

Index

composition
Luciano Berio
orchestra
Nones
W. H. Auden
oratorio
Passion of Christ
punctual
arch
variations
tone row
major
minor thirds
Webern
Concerto
Stravinsky

tone row
download the audio file
trichordal
hexachords
Smith Brindle 1958
Hicks 1989
Hicks 1989
Whittall 2008
Smith Brindle 1958
Hicks, Michael
Perspectives of New Music
doi
10.2307/833415

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