Notre Faust

Berio, Luciano

doi:10.4000/books.contrechamps.1736

Cited by 5 publications

(8 citation statements)

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“…6). For an extended discussion about the treatment of chromospheric contribution on a peculiar red giant star (β Cet), using this work, see Berio et al (2011).…”

Section: Nlte Effects Versus Atmospheric Parametersmentioning

confidence: 99%

A grid of non-local thermodynamic equilibrium corrections for magnesium and calcium in late-type giant and supergiant stars: application to Gaia

Merle¹,

Thévenin²,

Pichon³

et al. 2011

Monthly Notices of the Royal Astronomical Society

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We investigate non‐local thermodynamic equilibrium (NLTE) effects for magnesium and calcium in the atmospheres of late‐type giant and supergiant stars. The aim of this paper is to provide a grid of NLTE/LTE equivalent width ratios W/W* of Mg and Ca lines for the following range of stellar parameters: Teff∈ [3500, 5250] K, log g∈ [0.5, 2.0] dex and [Fe/H] ∈ [− 4.0, 0.5] dex. We use realistic model atoms with the best physics available and taking into account the fine structure. The Mg and Ca lines of interest are in optical and near‐IR ranges. A special interest concerns the lines in the Gaia spectrograph [Radial Velocity Spectrometer (RVS)] wavelength domain [8470, 8740] Å. The NLTE corrections are provided as a function of stellar parameters in an electronic table as well as in a polynomial form for the Gaia/RVS lines.

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“…6). For an extended discussion about the treatment of chromospheric contribution on a peculiar red giant star (β Cet), using this work, see Berio et al (2011).…”

Section: Nlte Effects Versus Atmospheric Parametersmentioning

confidence: 99%

A grid of non-local thermodynamic equilibrium corrections for magnesium and calcium in late-type giant and supergiant stars: application to Gaia

Merle¹,

Thévenin²,

Pichon³

et al. 2011

Monthly Notices of the Royal Astronomical Society

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“…These masterpieces are the result of Berio's utopian dream of creating a unity between folk music and western classical music. According to Berio (1990) "there are three conditions which can be identified in the act of transcribing, as in translating: (…)the transcriber can identify emotionally with the text, the original text can become a pretext for experimentation; or, finally, it can be overwhelmed and philologically "abused. "…”

Section: Luciano Berio´s Work and Folk Musicmentioning

confidence: 99%

“…He believes that, when these three conditions coexist the transcription becomes a real creative and constructive act. Voci, and by extension Naturale, explores the problem of the convergence of these three conditions (BERIO, 1990).…”

Section: Luciano Berio´s Work and Folk Musicmentioning

confidence: 99%

“…The subject of Sicilian folk music seems rather remote from the disciplines studied by music performers in most academic circles. Berio himself mentioned that his intent in composing works based on these folk songs was to contribute to an increased awareness of this most fervent form of expression (BERIO, 1990). To close this gap, special attention is given in this document to the sources of these songs, their meaning, the environment and the occasions on which they were sung.…”

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confidence: 99%

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New Findings of Sicilian Folk Songs in Luciano Berio´s Naturale

Piermartiri

2018

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This paper gathers and analyzes information concerning Naturale, a work written by Luciano Berio in 1985 for viola, percussion and recorded voice, based on Sicilian folk songs. Several aspects surrounding Naturale's creation are taken into consideration in this study: Berio's compositional style and traits, the manner in which he relates his works one to another, what he sees in folk music and his own personal desire to intertwine art music and folk music. For Berio, Naturale is not an isolated venture into the realm of mixing folk music and his own avant-garde style; it is instead one of many works resulting from his long-standing relationship with folk music. Another essential aspect in this case is the study of the sources used by Berio to find the folk songs by which he was inspired. An interview with Maestro Aldo Bennici, the Sicilian violist for whom Naturale was composed, helped in the discovery of the usage of two more folk songs in a section of the piece, being their identification suggested in this paper.

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“…O trabalho de Berio consistiu portanto em dar consistência musical à exploração fonética e à escrita fragmentada do texto de Cummings, por meio da construção de blocos de devir 21 em que voz e instrumentos ampliam suas possibilidades expressivas ao buscarem, reciprocamente, um se tornar o outro, um prolongar o outro, um se prolongar no outro, um intercambiar com o outro, em suas respectivas emissões sonoras. Além desse aspecto da fusão sonora entre voz, harpa e percussões na peça, há também a exploração de um caráter cênico na participação de Berberian e, em menor grau, na dos instrumentistas, por meio de deslocamentos dos músicos e da cantora no palco bem como de interações entre si, sem considerar outros elementos interpretativos não acrescentados na partitura mas que eram constantemente utilizados pela cantora, como a brusca virada de corpo que ela fazia no trecho em que cantava o tktktk (BERIO, 1961: 28), mostrando suas costas nuas para a plateia e assim produzindo um grande efeito de surpresa, tendo em vista se tratar de um espetáculo que acontecia no início dos anos de 1960, quando o uso de vestimentas desse tipo era ainda um tanto quanto chocante para o público das salas de concerto (BERBERIAN [1978] apud VILA, 2003ver também BERIO [2002] apud VILA, 2003: 98-99).…”

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Cathy Berberian, Grock e as ideias de polifonia de ações, fragmentação textual, solfejo afetivo e humor em Sequenza III, para voz feminina, de Luciano Berio

Penha

Ferraz

2017

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Este artigo investiga alguns aspectos do contexto artístico-histórico em que Luciano Berio compôs Sequenza III, para voz feminina. São abordados: a concepção de Berio da técnica e do virtuosismo instrumental e como pensou em trabalhá-los nas Sequenzas; o fator da teatralidade de algumas das Sequenzas; a importância do clown Grock para Berio, bem como uma breve biografia desse clown; a relação de parceria e colaboração entre Berio e Cathy Berberian; a prática clownesca doméstica e performativa de Berberian; a polifonia simulada nas Sequenzas; a fragmentação do texto literário de Marcus Kutter por Berio; a elaboração de um solfejo afetivo na escrita da partitura; a importância do riso e a construção de uma polifonia de ações em Sequenza III. Busca-se aplicar o método da dramatização proposto por Gilles Deleuze, pelo qual compreende-se que as ideias são expressadas em dinamismos espaços-temporais dramáticos produtores de individuações (DELEUZE, 2006[1967]: 129-154).

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Notre Faust

Cited by 5 publications

References 0 publications

A grid of non-local thermodynamic equilibrium corrections for magnesium and calcium in late-type giant and supergiant stars: application to Gaia

A grid of non-local thermodynamic equilibrium corrections for magnesium and calcium in late-type giant and supergiant stars: application to Gaia

New Findings of Sicilian Folk Songs in Luciano Berio´s Naturale

Cathy Berberian, Grock e as ideias de polifonia de ações, fragmentação textual, solfejo afetivo e humor em Sequenza III, para voz feminina, de Luciano Berio

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