Bruno Ruviaro

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After having listened to Luciano Berio’s recomposition of Mahler1 inside his own Sinfonia (1968), we can never listen again to the original Mahler in the same “pure” way. Our cummulative, historic (and creative) listening makes all cross-references at once each time we go back to either one. I feel that something very similar happened to me after having(More)
This paper proposes a theoretical model for the analysis of music and language intersections in contemporary music. This model is tested on a repertoire of electroacoustic and acoustic pieces, providing examples of blurred boundaries between music and speech. We have defined two axes representing possible dimensions of this relationship: intelligibility and(More)
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