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A Computer-Assisted Analysis of Rhythmic Periodicity Applied to Two Metric Versions of Luciano Berio’S Sequenza VII Patricia Alessandrini

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A Computer-Assisted Analysis of Rhythmic Periodicity Applied to Two Metric Versions of Luciano Berio’S Sequenza VII Patricia Alessandrini A Computer-Assisted Analysis of Rhythmic Periodicity Applied to Two Metric Versions of Luciano Berio’s Sequenza VII Patricia Alessandrini To cite this version: Patricia Alessandrini. A Computer-Assisted Analysis of Rhythmic Periodicity Applied to Two Metric Versions of Luciano Berio’s Sequenza VII. Sound and Music Computing, 2006, Marseille, France. hal-03013963 HAL Id: hal-03013963 https://hal.archives-ouvertes.fr/hal-03013963 Submitted on 19 Nov 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A Computer-Assisted Analysis of Rhythmic Periodicity Applied to Two Metric Versions of Luciano Berio’s Sequenza VII Patricia Alessandrini Princeton University Music Composition In a computer-assisted analysis, a comparison is environment in order to search for patterns of made between two metered versions of Luciano rhythmic periodicity. Berio’s Sequenza VII: the “supplementary edition” 2. The Original Notation and the Problematics drafted by the oboist Jacqueline Leclair (published of its Re-notation in 2001 in combination with the original version); The issue of notation comes out, at least in and the oboe part of Berio’s chemins IV. my own musical perspective, when there is Algorithmic processes, employed in the a dilemma, when there is a problem to be environment of the IRCAM program Open Music, solved. And that pushes me to find search for patterns on two levels: on the level of solutions that maybe I was never pushed to rhythmic detail, by finding the smallest rhythmic find before. That happens, of course, unit able to divide the all of the note durations of a mostly when there is a certain amount of given rhythmic sequence; and on a larger scale, in indeterminacy that is needed in order to terms of periodicity, or repeated patterns suggesting gain a certain result...the larger issue, the beats and measures. At the end of the process, scope of the work, the reason, if you want, temporal grids are constructed at different both the technical and expressive reason hierarchical levels of periodicity and compared to of the work, that justifies the local the original rhythmic sequences in order to seek situation.4 instances of correspondence between the grids and The most original aspect of the notation of the sequences. As the original notation of consists Sequenza VII is its grid structure: thirteen lines of of a combination of rhythmic and spatial notation, music are intersected by thirteen vertical dotted and the section analyzed in this study consists lines dividing each line into the same set of entirely of spatial notation, this analysis of the subsections with very specific second durations (2.7 metric versions of Sequenza VII investigates to seconds, 1.3 seconds, etc.). The notes between what extent the rhythms and meters put into place these subdivisions are in a freely mixed are perceptible in terms of periodicity, or are rather combination of spatial and ‘rhythmic’ (notes with made ambiguous by avoiding periodicity. specified rhythmic values) notation; the use of rhythmic material increases over the course of the 1. Introduction: the Supplementary Edition and piece. The durations of the unmeasured notes are chemins IV determined either spatially, in relation to the In 1996, the American oboist Jacqueline Leclair indicated seconds, or by articulation: there is a drafted a metered version of Luciano Berio’s vertical line through some of the notes indicating Sequenza VII for oboe solo. She showed her ‘re- that they are to be as short as possible. Although notation’ to Berio, and obtained his permission to having the same set of second durations for each have her metered version published as a line would seem to indicate that each line should supplementary edition.1 This development in the have the same duration (22.6 seconds, the total of life of this work prompts me to investigate the the thirteen subdivisions), this is not the case, because there are fermatas within many of the rhythmic material particular to Leclair’s version, in comparing it to that of chemins IV2, which could be subdivisions having their own additional indicated second durations. considered to be Berio’s own metered version of Sequenza VII. This analysis will employ The re-notation of Sequenza VII by Leclair algorithmic processes in the Open Music3 began as her own personal method of interpreting the notation in order to execute the indicated 1 Published by Universal Edition (Vienna, 2001), as Sequenza second durations as accurately as possible. Her re- VIIa per oboe (1969, rev. 2000), with the original unmeasured notation is, therefore, not an exact calculation of notation printed on the back of the supplementary edition. This rhythms made by measuring the spaces between edition includes a short commentary by Leclair on Holliger’s notes in the unmeasured subsections, but rather a performance notes (warning that they ‘have varying degrees of applicability’), as well as some minor notational changes in the representation of her own rhythmic interpretation of score, such as the use of microtones in the “chords” (i.e. multiphonics). 4 2 Chemins IV, su Sequenza VII, per oboe e 11 archi, Universal From an interview with Luciano Berio conducted by Benedict Edition (Milan, 1975). As the title indicates, the work is based Weisser, April 24, 1997. Transcribed in Benedict Weisser, on Sequenza VII, the solo oboe becoming a soloist accompanied Notational Practice in Contemporary Music: A Critique of by an ensemble. Three Compositional Models (John Cage, Luciano Berio, and 3 IRCAM software designed by G.Assayag and C.Agon, and Brian Ferneyhough) (PhD dissertation, City University of New developed by the research team at IRCAM York, 1997), Appendix A, lines 12-29 these events as a performer, set in a new thirteen- in a comparison to the rhythms of the solo part of line grid that accurately replicates the second chemins IV with a particular focus on the durations in metered form; in her tempo of a problematic of periodicity (here defined as quarter-note = 60, (there is of course no tempo rhythmic patterns whose regularity suggests beats marking in the original), the first subdivision of 3 and their organization in measures). seconds becomes a 3/4 measure, the second In general, Leclair retained the rhythmic subdivision of 2.7 seconds becomes 11/16, etc. portions of the original score in their entirety, the Because her choice of rhythms serves only as the fermatas with their durations in seconds, and the means towards the goal of accurately executing the grace notes. As discussed earlier, the second durations, she suggests that the performer use her durations of the original grid become their metric re-notation as a guide for study, and perform from equivalents, exact or approximate, in the new grid: the original.5 in the tempo quarter note = 60, the whole number second values and certain other values are replaced This technique of interpreting spatial rhythms by their exact equivalents (3/4 for 3 seconds, 3/8 into new measured relationships which are not for 1.5, etc.), while more irrational values are necessarily exact interpretations of the spaces slightly modified, while preserving their different between each note but nonetheless keep the overall proportions (11/16 is very slightly – .05 seconds – proportions of the piece intact is similar to the longer than 2.7 seconds, 7/16 is .05 seconds longer process used by Berio in producing a rhythmic 6 than 1.8 seconds, etc.). The difficulty arises in version of his Sequenza I in 1992 . Berio’s idea of fitting the spatial notation into the metric structure, the function of his metric version of Sequenza I is while retaining a sense of the un-metered also similar to Leclair’s performance idea, in its complexity of the original. The relative periodicity intention to minimize the loss of rhythmic freedom: of a section will be the measure used here to test its ‘...what’s happening is that they are continuing to ‘metric’ feel; for this purpose, a temporal grid will perform, if they don’t learn it by heart, from the be created and compared to the notated rhythms. older spatial notation, and they use the rhythmical 7 This analysis will be applied to the first thirteen [1992] version as a reference.’ measures, corresponding to the first line in the grid When Leclair sent her re-notation of Sequenza notation. As this opening section consists only of VII to Heinz Holliger in 1997 (before Berio had the note B4 repeated with different colorations, approved its publication), Holliger responded that rhythmic details are particularly discernible. although it is an ‘accurate work’, he didn’t ‘see really the reason for it’, because he considers the 3. The Creation of a Temporal Grid Based on a oboe part of chemins IV to be Berio’s own Fundamental Unit measured version. The solo-part from chemins IV …very often what happens, there is a does not, however, function in the same way as temporal grid, maybe static, but the other Leclair’s re-notation for three reasons: it does not ones [other temporal organizations] are attempt to preserve the overall duration of the moving in a constantly mobile way. original, it does not retain the same subdivisions as Sometimes the temporal grid is completely the original (but rather introduces new metric abstract, indifferent...There are always 9 divisions), and it does not retain the grid structure different phases that are important.
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