| OCR Text |
Show 45 Sequenza III is invalid, it just means that there is also more at play. Berberian's initial vocalizations were inspired by machines, and in some sense, specifically because of its treatment of the text, the piece dehumanizes the performer despite its emotional intensity. The text in the piece is not declaimed in a traditional manner but is fragmented, repeated, and interrupted. Berio set phonemes, syllables, whole words, and whole phrases from the text, and did so in a calculated manner that has a coherence beyond the presentation of psychological states in Anhalt's analysis. This analysis will show that Berio used the fragments of the text more musically than linguistically. The text fragments are often combined with traditional musical building blocks like pitch and rhythm in a motivic manner that contributes to overall cohesive structures. The varied presentation of text, whether presented as phonemes, syllables, whole words, or whole phrases, has structural or motivic purpose. The modular text by the Swiss writer/designer Markus Kutter reads: Give me a few words for a woman to sing a truth to build a house without worrying allowing us before night comes Part of the text, "Give me a few words for a woman to sing," consists of Be rio's own 0 words to Kutter when he solicited the text. Janet Halfyard's analysis of Be rio's setting of the text shows that all but one phrase of the original poem can be discerned. The excluded phrase is "without worrying," which is appropriate since many of the score expression markings evoke apprehension (for example: anxious, frantic, tense, desperate). She describes the text setting as an unsuccessful attempt to convey its meaning. Halfyard aptly claims that Sequenza III is attempting "to build a house" or at least build a sentence with the string of phonemes and syllables, but the phonemes are |
