CATHY BERBERIAN STRIPSODY SCORE PDF

Stripsody sheet music – voice (unspecified vocal range) sheet music by Cathy Berberian: Edition Peters. Shop the World’s Largest Sheet Music. Cathy Berberian. In , composed her first musical work, Stripsody for solo voice. Stripsody is an exploration of the onomatopoeic sounds of. TOOLS: Graphic organizer for students to brainstorm sounds, musical score for ” Stripsody”, projector & whiteboard for interactive brainstorming.

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The scoge of speech are transformed into pure sound, devoid of overt meaning but possessed of a musical quality which communicates on its own level.

Sparks In Electric Jelly: Berberian Sound Studio and Cathy Berberian

Such instances of crisis in the subject are mostly predicated by an excess in meaning. Cornell University Press, Cambridge University Press, At one point, an electronic space of glitter and sparkle is created through filter and echo effects, within which the moaning sounds of pleasure reverberate, a passage which caused the prudish Italian Radio Corporation to ban a broadcast of the piece.

These perceptions are part of different modes of looking and listening that are continuously oscillating. Betekenissen van de stem in westerse vocale muziek Kampen, Primary Works Andriessen, Louis, http: The theatricality of her outward bodily and facial mimicry of a diva is in shrill contrast to the onomatopoeic vocal sounds with which Berberian seems to acoustically imitate and sketch out situations from the everyday and popular audio culture.

By stressing the reading act as subvocalised sound, Stripsody creates a double awareness in the listener which produces a sense of reading a text that seems to be shared with the performer: Graphic illustration block When students have finished their work, they can add color to their scores.

Stripsody demonstrates then that it is through reading the vocal imagery that one can encounter the body in the voice.

The piece Stripsody is a hugely enjoyable four minutes or so in which she vocalises the sounds of a comic strip, drawn for her by the artist Roberto Zamarin the strip ideally projected during the performance. November 1,1 min. All of which brings me to the title.

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Here, she sings without the transformative magic of studio tape editing techniques.

I love that this piece can be considered a piece of performance art and how Berberian committed to every csthy on the score. Stripsody invited me then to revisit such concepts as the vocal persona in the composition, concert and representational modes in the experience of its sounding score, and sgripsody voice-body strripsody the interpretation of the voice and strippsody bodily performance.

USB microphone for recording student performances, audio editing software Garage Bandvideo editing software iMovieand Vimeo account to upload and share student work making full use of privacy settings MA Arts Curriculum Framework: Before reaching Berbarian we studied the atonal works of Schoenberg and I, very naively, categorized Schoenberg as the most radical of all composers we have studied.

These ones make for great examples: As the last part of the word strip- sody suggests, the sounding score reads like a rhapsody, an ecstatic musical expression that is irregular in form and suggestive of improvisation. The opening minutes are genuinely disturbing, all the more so for the use of identifiably human sounds which have gone beyond the normal range of human expression.

Berberian – Stripsody

Sorry but your review could not be submitted, please verify the form and try again. Music Lists are as unique as the musician! Csthy Hopkins University Press. Follow along with the score! These recognisably human sounds then undergo a transformation into staccato insect stridulation and the buzzing of swarming flies — sounds which could easily have been used on the soundtrack of Katalin Varga.

A distressed sttripsody makes stuttering attempts at speech, but gets caught on hard, jagged consonants, and is unable to articulate stripsoddy single word. Entretiens avec Rossana Dalmonte, trans. They manifest themselves, in my interpretations, cthy different kinds or modes of music that inhabit a single work.

Because I share this lesson with very young students, I only perform the first portion through the barnyard scene. All of which makes it seem like Strickland is putting his youthful experiences of travelling from Reading to the Scala Cinema in London, where the films of Dario Argento, Lucio Fulci and other Italian exploitation directors were a core part of the repertory, to good use. Strickland himself plays in an electronic music trio, The Sonic Catering Bandalongside Colin Fletcher and Tim Kirby, who make a kind of modern musique concrete using the sounds of cookery as source material.

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Kivy reminds us then cayhy the voice as medium is never really eliminateble, never vaporised into pure content. By signing up you consent with the terms in our Privacy Policy.

One single line to allow for illustrating a sound with traveling pitch Figure 3: With his love of music and care for the sonic elements of a film, it is appropriate that Berberian Film Studio is to be released by Warp Films, the cinematic offshoot of the Catyh record label. With regard to these definitions, Cone warns us not to confuse the composer with the persona in music: Critical Writings New York: The purpose of this vocal piece was to be expressive, and what better way to be expressive then to translate an image into a sound.

More by this Composer: These indicated the degree to which performance was a key part of her art, which married the scire with the theatre stage. As such, the various vocal personae to which the sounding score gives rise are part of the representational mode of attention. University of Nebraska Press,p.

Style and Homosexuality Amherst: Berkeley and Los Angeles: This spatial dimension of pleasure is all too soon torn apart by a violent, abrasive sound, as if some external force were also intent on crushing any trace of sensual delight.

Canadian Journal of Music He hints at the context of opera to support his claim: Brian Morton rightly asserts that she has to be regarded as a co-composer of the works which Berio wrote for her, so completely do they rely on her unique vocabulary of extended vocal sounds.