Resonance as a Polyphonic Resource: An Analysis of <i>Erdenklavier</i> by Luciano Berio

The objective of this article is to share a reading of a piece for solo piano, Erdenklavier (1969), that is part of a cycle of miniatures called 6 Encores written by Luciano Berio, which, in a condensed form, interrelates two recurring principles of composition from Berio’s poetics: implicit polypho...

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Main Author: Max Packer
Format: Article
Language:Portuguese
Published: Associação Nacional de Pesquisa e Pós-Graduação em Música 2012-12-01
Series:Opus
Subjects:
Online Access:http://www.anppom.com.br/revista/index.php/opus/article/view/162
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author Max Packer
author_facet Max Packer
author_sort Max Packer
collection DOAJ
description The objective of this article is to share a reading of a piece for solo piano, Erdenklavier (1969), that is part of a cycle of miniatures called 6 Encores written by Luciano Berio, which, in a condensed form, interrelates two recurring principles of composition from Berio’s poetics: implicit polyphony over a single melodic line and resonance for potential amplification and development of statements. Therefore, the first part of this article is dedicated to introducing examples where a suggestion of resonance appears in three of Berio’s works–Chemins IV (1975), Il Ritorno degli Snovidenia (1976) and Leaf (1990)–to illustrate composing strategies related to the scope of this principle. Aswemovetowardspianopart,theanalysisgainsgreaterdetailinthattheelaborationof resonance for the instrument allows one to approach compositional aspects that lie precisely within the relationship between notions of resonance and latent polyphony.
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spelling doaj.art-6a6ff396fa304a358704adf23d7dcde32022-12-21T17:13:16ZporAssociação Nacional de Pesquisa e Pós-Graduação em MúsicaOpus0103-74121517-70172012-12-011823350138Resonance as a Polyphonic Resource: An Analysis of <i>Erdenklavier</i> by Luciano BerioMax Packer0UNICAMPThe objective of this article is to share a reading of a piece for solo piano, Erdenklavier (1969), that is part of a cycle of miniatures called 6 Encores written by Luciano Berio, which, in a condensed form, interrelates two recurring principles of composition from Berio’s poetics: implicit polyphony over a single melodic line and resonance for potential amplification and development of statements. Therefore, the first part of this article is dedicated to introducing examples where a suggestion of resonance appears in three of Berio’s works–Chemins IV (1975), Il Ritorno degli Snovidenia (1976) and Leaf (1990)–to illustrate composing strategies related to the scope of this principle. Aswemovetowardspianopart,theanalysisgainsgreaterdetailinthattheelaborationof resonance for the instrument allows one to approach compositional aspects that lie precisely within the relationship between notions of resonance and latent polyphony.http://www.anppom.com.br/revista/index.php/opus/article/view/162Luciano BerioRessonânciaPolifonia latenteMúsica do século XXAnálise musical.
spellingShingle Max Packer
Resonance as a Polyphonic Resource: An Analysis of <i>Erdenklavier</i> by Luciano Berio
Opus
Luciano Berio
Ressonância
Polifonia latente
Música do século XX
Análise musical.
title Resonance as a Polyphonic Resource: An Analysis of <i>Erdenklavier</i> by Luciano Berio
title_full Resonance as a Polyphonic Resource: An Analysis of <i>Erdenklavier</i> by Luciano Berio
title_fullStr Resonance as a Polyphonic Resource: An Analysis of <i>Erdenklavier</i> by Luciano Berio
title_full_unstemmed Resonance as a Polyphonic Resource: An Analysis of <i>Erdenklavier</i> by Luciano Berio
title_short Resonance as a Polyphonic Resource: An Analysis of <i>Erdenklavier</i> by Luciano Berio
title_sort resonance as a polyphonic resource an analysis of i erdenklavier i by luciano berio
topic Luciano Berio
Ressonância
Polifonia latente
Música do século XX
Análise musical.
url http://www.anppom.com.br/revista/index.php/opus/article/view/162
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