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Extra info for Alternative Voices: Essays on Contemporary Vocal and Choral Composition
What does this pseudo-language sample mean? Why use such extremities of expression? What is the place of marginal sounds in a musical work? Why did the composer destroy his text? Does the piece mean anything? If yes, what? Is there a message? Where did the idea come from? Are there any precedents for this? 21 Theme and recent background I suggest that we should now study three seminal works in this repertoire: Berio's Sequema ///, Ligeti's Nouvelles Aventures, and Lutoslawski's Trois Poèmes d'Henri Michaux.
Cottrell 1942: 374) In the course of this analysis we shall have occasion to see various 'interact patterns,' and we shall observe numerous 'internally consistent series of conditional responses' expressed in musico-linguistic terms that evoke similar or different series in the other participants. Cottrell notes that we are committed to respond not only to our interlocutor but also to our inner voice (perhaps even more strongly to the latter than to the former): 'Each member of an interpersonal relationship is not only conditioned to respond to the acts of the other (s) with his own act series but is conditioned to respond to his own response series as a stimulus series with actions he incorporates from the other(s)' (374).
Pittenger, Hockett, and Danehy devoted an entire book to a linguistic-psychiatric 27 Berio's Sequenía III analysis of the first five minutes of a therapeutic interview (Pittenger, Hockett, and Danehy 1960). While it helps to read this literature in search of clues to Sequenza HI, each of us possesses, from experience, a store-house of information about oral behaviour and its relationship to mental states. This knowledge seems to be the most useful for composers and audiences alike. Trust in one's experience seems to me an indispensable attitude in the search for the personality of Berio's protagonist.