Se i vulcani vicini a noi iniziassero ad eruttare cosa succederebbe in Italia? Ci troveremmo ad affrontare una situazione simile a quella del terremoto dell'Aquila. Sabrina Mugnos - Google+. Sign in. Profile cover photo. Profile photo. Sabrina Mugnos. 15 followers. 15 followers. About. Posts. Looks like you've reached the. I Maya e il , di Sabrina Mugnos, rappresenta una risposta scientifica al caos mediatico che si creato attorno a questa data Lautrice.


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The opening tone row, sabrina mugnos its melodic shape, is repeated four times during the piece. The first repetition is of the opening rhythm and melodic contour on page one, fourth through fifth system Ex.

The third time the row is repeated, it also appears as a reiteration of the pitch class order page 2 systems Ex. The fourth repetition is also of the pitch class order on page 5, system Ex.

These repetitions of the row act as anchors in the piece. All the other pitch material is the development of the row through the active use of 2nds and sevenths. The row is repeated with substitutions.

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The pitch content is less important than the texture it creates and the 2 http: Analysis of Structure Since Sequenza No. I is organized around relative density, the best way to analyze it is by observing which dimensions temporal, dynamic, pitch, and morphological are sabrina mugnos play at any given moment.

The first dimension I will observe is sabrina mugnos temporal dimension; or rhythm. The piece opens with flourishes of rhythmic activity in which the note values gradually lengthen.

The rhythmic structure at this point sets up the entire piece.

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Moments of great activity are followed by relative calm. This pattern is maintained throughout the entire score. Directly linked sabrina mugnos the rhythmic activity is dynamic activity.

sabrina mugnos When the rhythm accelerates, there is an increase in dynamics. The longer note values are held at a lower dynamic.

Sequenza No. I -

I will skip over the pitch structure as it has already been covered sabrina mugnos. The last dimension to be explored is the morphological. The piece opens with an open flute sabrina mugnos without any alterations. As the piece progresses, alterations such as flutter tonguing and key clicks are introduced.

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The flutter tonguing technique is used in conjunction with increased rhythmic activity and heightened dynamics. It is also used to make connections between differing sections of dynamic and rhythmic activity.

Key clicks are used in a similar manner. The clicks sabrina mugnos as a connector to the pitch and dynamics. The pitches at a higher dynamic level are accented with key clicks while the pitches at a lower dynamic level are played as normal, without any clicks.


The final playing technique used is multiphonics. The multiphonics only appear for a brief time and are used to add density to very long rhythmic values as well a lowered dynamic. The pitch content is significant in sabrina mugnos the upper pitch is also the final pitch of the piece Ex.

The multiphonics appears after an extremely agitated section of high rhythmic activity, increased dynamics, and flutter tonguing which constitute the climax of the piece. The four dimensions combine to form a structure of density that centers and gives balance to the piece.

This approach gives the reader a glimpse into the mind of Berio and a more thorough understanding of sabrina mugnos motivational forces behind each work.

Osmond-Smith makes the point that Sequenza No.