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Bario's Sequenza III

Permanent Link: http://ncf.sobek.ufl.edu/NCFE003866/00001

Material Information

Title: Bario's Sequenza III An Aesthetics of Otherness
Physical Description: Book
Language: English
Creator: Vistein, Amber
Publisher: New College of Florida
Place of Publication: Sarasota, Fla.
Creation Date: 2007
Publication Date: 2007

Subjects

Subjects / Keywords: Aesthetics
Otherness
Berio, Luciano
Genre: bibliography   ( marcgt )
theses   ( marcgt )
government publication (state, provincial, terriorial, dependent)   ( marcgt )
born-digital   ( sobekcm )
Electronic Thesis or Dissertation

Notes

Abstract: Sequenza III is a seminal work of experimental vocal music composed by Luciano Berio in 1966. As a challenging and unconventional piece for an unaccompanied solo vocalist, it prompts a psychological interpretation where a music theoretic account falters. However, the psychological approach is unable to account for many disorienting features without relegating the performer and what she performs to the status of madness. As an alternative, I utilize Barthes distinction between the genotypic and phenotypic elements of song. Unfortunately the promising concept of the genotype remains underdeveloped in Barthes's essay. In an attempt to flesh out, ground, and extend what Barthes merely points towards, I examine the philosophical theories of the Other offered by Merleau-Ponty and Deleuze. These theories provide a means for allowing what is initially disorienting in Sequenza III to become meaningful to the listener. Still, the performer-as- Other is not organized in the same way as ordinary others. She must also be considered in light of her participation in a work of art. I use Deleuze's theory of art in order to consider the performer-as-Other as participating in a becoming-music, This participation reorganizes the performer-as-Other along the lines of performer- as-Artwork in such a way that she becomes a new kind of Other: the Impersonal Other. This Other makes perceptible what usually remains imperceptible in our encounters with others--their structuring effect on our perception--and reveals the thematization of the impersonal as the content of Berio's piece.
Statement of Responsibility: by Amber Vistein
Thesis: Thesis (B.A.) -- New College of Florida, 2007
Electronic Access: RESTRICTED TO NCF STUDENTS, STAFF, FACULTY, AND ON-CAMPUS USE
Bibliography: Includes bibliographical references.
Source of Description: This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.
Local: Faculty Sponsor: Flakne, April

Record Information

Source Institution: New College of Florida
Holding Location: New College of Florida
Rights Management: Applicable rights reserved.
Classification: local - S.T. 2007 V8
System ID: NCFE003866:00001

Permanent Link: http://ncf.sobek.ufl.edu/NCFE003866/00001

Material Information

Title: Bario's Sequenza III An Aesthetics of Otherness
Physical Description: Book
Language: English
Creator: Vistein, Amber
Publisher: New College of Florida
Place of Publication: Sarasota, Fla.
Creation Date: 2007
Publication Date: 2007

Subjects

Subjects / Keywords: Aesthetics
Otherness
Berio, Luciano
Genre: bibliography   ( marcgt )
theses   ( marcgt )
government publication (state, provincial, terriorial, dependent)   ( marcgt )
born-digital   ( sobekcm )
Electronic Thesis or Dissertation

Notes

Abstract: Sequenza III is a seminal work of experimental vocal music composed by Luciano Berio in 1966. As a challenging and unconventional piece for an unaccompanied solo vocalist, it prompts a psychological interpretation where a music theoretic account falters. However, the psychological approach is unable to account for many disorienting features without relegating the performer and what she performs to the status of madness. As an alternative, I utilize Barthes distinction between the genotypic and phenotypic elements of song. Unfortunately the promising concept of the genotype remains underdeveloped in Barthes's essay. In an attempt to flesh out, ground, and extend what Barthes merely points towards, I examine the philosophical theories of the Other offered by Merleau-Ponty and Deleuze. These theories provide a means for allowing what is initially disorienting in Sequenza III to become meaningful to the listener. Still, the performer-as- Other is not organized in the same way as ordinary others. She must also be considered in light of her participation in a work of art. I use Deleuze's theory of art in order to consider the performer-as-Other as participating in a becoming-music, This participation reorganizes the performer-as-Other along the lines of performer- as-Artwork in such a way that she becomes a new kind of Other: the Impersonal Other. This Other makes perceptible what usually remains imperceptible in our encounters with others--their structuring effect on our perception--and reveals the thematization of the impersonal as the content of Berio's piece.
Statement of Responsibility: by Amber Vistein
Thesis: Thesis (B.A.) -- New College of Florida, 2007
Electronic Access: RESTRICTED TO NCF STUDENTS, STAFF, FACULTY, AND ON-CAMPUS USE
Bibliography: Includes bibliographical references.
Source of Description: This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.
Local: Faculty Sponsor: Flakne, April

Record Information

Source Institution: New College of Florida
Holding Location: New College of Florida
Rights Management: Applicable rights reserved.
Classification: local - S.T. 2007 V8
System ID: NCFE003866:00001

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