Cathy Berberian's Stripsody: An Excess of Vocal Personas in Score and Performance

OnderzoeksoutputAcademicpeer review

Samenvatting

In her close professional relationship to composers, such as Luciano Berio, John Cage, Hans Werner Henze, Igor Stravinsky and Sylvano Bussotti, Cathy Berberian has productively tainted historical preconceptions about the authorial “work” and the role of the singer in the realization of the composer’s creation. Her flamboyant character on the concert stage, where she showcased her more popular work, captured the public’s imagination. The success of this performer–audience rapport was intrinsic to the singer’s performative persona; however Pieter Verstraete argues that through her own composed work ("Stripsody" is the best known), Berberian presented a myriad of personas. She achieved this primarily by deconstructing her own voice as instrument and object, thereby subverting the stability of her relationship to the authorial power of the musical score. Consequently, Berberian’s work invites us to rethink the authorial position of the composer in relation to the singer/performer as well as the enhanced position of the listener whose function it is to imagine such personas in relation to seeing and hearing the performer’s singing body over a number of changing instances.
Originele taal-2English
TitelCathy Berberian
SubtitelPioneer of Contemporary Vocality
RedacteurenPamela Karantonis, Francesca Placanica, Pieter Verstraete
UitgeverijRoutledge
Hoofdstuk3
Pagina's111-139
Aantal pagina's29
Uitgave1
ISBN van elektronische versie9781315571072
ISBN van geprinte versie9780367669294, 9781409469834
StatusPublished - jan.-2014
Extern gepubliceerdJa

Citeer dit