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Luciano Berio의 Folk Songs에 나타난 민속음악의 발전요소
강보란 ( Boran Kang ) 전남대학교 예술연구소 2016 예술논집 Vol.18 No.-
Berio`s folk songs and folk tunes with the same, but their organizing and configure the instrument to inflict a unique musical language was reborn as the new creations is the case. In this paper, the folk music of Berio, based on material recreates a modern musical language that aims was to look after. Folk Songs of the features shown in the musical language is as follows. The melodic structure found in traditional folk music in the form of a simple but melodic songs strophic repeated accompaniment of other instruments, but a modified form of the ever-changing strophic structure is used. The scale of the line method using the collected folk songs as an accompaniment, but in the form of chromatic tonal elements and polytonality using tissue forms a complex sense of composition. In relation with the pitch perfect 4th chord tone and perfect 5th chord tone of the concords the folk scales, while maximizing the effect of the pitch, also a very creative use of derivative Well Completion pulled tone. The time interval, constantly changing in an irregular rhythm is maintained, but in a different location for each instrument by using a breathing mark in the form of crossed respiratory polyrhythm expire one is presented. The instruments of the law include embellishments, open string, double stopping, harmonics, glissandos of microtone, molto vibrato, used mute, sul ponticello of the laws of humanity to say, they use the modern techniques such as Use a lot of folk tunes and tried to combine a variety of contemporary voices. Berio`s folk song has collected folk songs as a form of human nature, while keeping in tune, scale, meter, such as in the laws of the State-of-mouth, combined with good music, new forms of creative works and the folk music of the material used for the plot shows the law works.
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PROCESSING “REPRESENTATIVE CHARGE”: EMBODIED LISTENING AND LUCIANO BERIO’S VISAGE
Jasmine Thomasian(재스민 토마시안) 한국전자음악협회 2023 에밀레 Vol.21 No.-
Literature on electroacoustic music has tended to focus primarily on the mental processes of creating and listening to the genre, reinforcing an Enlightenment-era mind/body dualism. This study offers insights into the embodied aspects of producing and experiencing electroacoustic music. Through an analysis of the sonic material and reception history of Luciano Berio’s Visage, the author illuminates the connections retained between mental and physical processes and sensations in the production and reception of the piece. These mental-physical connections attach to both vocal and electronic sounds, complicating and extending experiences of embodiment beyond sounds produced by human bodies. The analysis offers frameworks and avenues for future research into the embodied experience of electroacoustic music.
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