Sequenza III for Female Voice Flashcards

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1
Q

In Sequenza III for Female voice, there are ( rare) conventionally sung passages with clearly defined pitches and intervals. give examples

A

Minor thirds, broken triads, 7ths, Augmented 4ths and repeated notes. (notated on five-line stave).

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2
Q

What is the harmony of Sequenza III for Female voice?

A

it is a solo piece, so there is none. Berio spoke of a ‘sequence of harmonic fields’, but it is impossible to describe harmony as such.

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3
Q

What is the rhythm/metre of Sequenza III for Female voice?

A

Essentially there is no rhythm or metre in the traditional sense.

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4
Q

Performances of Sequenza III for Female voice are rare. where are they most likely to take place?

A

at ‘specialist’ modern music events.

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5
Q

What is Sequenza III for Female voice notable for?

A

Virtuosity, ‘extended vocal techniques’, and challenging of traditional language and conventions of music.

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6
Q

What genre is Sequenza III for Female voice?

A

It is an avant-garde work.

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7
Q

What is teh structure of Sequenza III for Female voice?

A

It is a random sucesssion of ideas and ‘moods’, indicated by such directions as ‘anxious’, ‘urgent’, ‘very excited’ and ‘frantic’.

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8
Q

Give an example of how Sequenza III for Female voice challenges traditional language and conventions of music

A

The disguise opening of the work with the performer working on stage muttering.

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9
Q

Other than the rate conventionally sung passages, which other eight torms of vocal production does Berio use in Sequenza III for Female voice?

A

Muttering, laughing, tongue clicks, coughs, sighs, trills, tremolos, cupping of hand over mouth.

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10
Q

What is the notation of Sequenza III for Female voice?

A

Graphic with only approximate indication of the time values and pitches.

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11
Q

Where is the text for Sequenza III for Female voice sourced?

A

the text is a poem by Marc Rutter.

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12
Q

What is the tonality of Sequenza III for Female voice?

A

It is atonal with no fixed relationships of pitches to one another. the performer is not obliged to sing even the passages notated on the five line staves at concert pitch.

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13
Q

the Melody/word setting of Sequenza III for Female voice is frequently dislocated and subjected to various treatments, Name three

A

( rare) use of complete phrase, Spinning out of new phrases drawing on component parts of text, splitting up of words or changing component sounds.

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14
Q

How is the time element of Sequenza III for Female voice managed?

A

Through the division of the music into 10-second segments, but even here the timings

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15
Q

Though not notated traditionally, what is there in terms of note durations in Sequenza III for Female voice?

A

there are relatively long and short durations.

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16
Q

Which year was Sequenza III for Female voice written in?

A

1966