Cathy Berberian: Pioneer of Contemporary Vocality

Edited by Pamela Karantonis, Francesca Placanica, Anne Sivuoja and

Pieter Verstraete

Associate Editor: Carla Brünott

Table of Contents

Preface by Susan McClary

Cathy Berberian’s Dedication to Music. I Fell Down the Long Rabbit Hole into the

Wonderland of Music

Foreword by Sylvano Bussotti: In Memoriam (Cathy Berberian)

Allegoria nei fatti. Cathy Berberian,…/ Allegory actually

Introduction / Overture by Pamela Karantonis and Pieter Verstraete

Special Reprint David Osmond-Smith: The Tenth Oscillator:

The Work of Cathy Berberian 1958 – 1966

Special Transcript Cathy’s Solo Talk Show (courtesy of KRO Radio, The Netherlands

and the Dutch Film and Sound Archives)

Section I. A Radical Tradition – Re-writing (for) the Voice

Chapter 1. Francesca Placanica La nuova vocalità nell’opera Contemporanea (1966)

Cathy Berberian’s Legacy

Chapter 2. Pieter Verstraete Cathy Berberian’s Stripsody: An Excess of Vocal Personas

in Score and Performance

Chapter 3. Rokus de Groot Cathy Berberian and the Creation of a Stravinsky Vocality

Chapter 4. Hannah Bosma: Thema (Omaggio a Joyce): A Listening Experience as

Homage to Cathy Berberian

Section II. Vocal Performance as Meta-Commentary: Artistry and Cultural

Politics

Chapter 5. Anne Sivuoja: Cathy Berberian’s Notes on Camp

Chapter 6. Pamela Karantonis: Cathy Berberian and the Performative Art of Voice

Chapter 7. Kate Meehan: Beatles Arias: Cathy Berberian Sings The Beatles

Section III. New Perspectives on Vocality: Artists Reflect on the Influence of Cathy

Berberian

Chapter 8 Kristin Norderval: What We Owe to Cathy: Reflections from Meredith

Monk, Joan La Barbara, Rinde Eckert, Susan Botti, Theo Bleckmann and Pamela Z.

Chapter 9. Juliana Snapper: All with Her Voice: A Conversation with Carol Plantamura

Chapter 10. Candace Smith: My Five Years with Cathy Berberian

Bibliography, Discography, Filmography

Index

 Chapter 2. Cathy Berberian’s Stripsody – An Excess of Vocal Personas in

Score and Performance

Pieter Verstraete

In her close professional relationship to composers, such as Luciano Berio1, 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 realisation of the composer’s creation. Her flamboyant character and

more popularly known work on the concert stage enhanced the public’s imagination of

the singer’s performative persona. I want to argue, however, that through her own

composed work (Stripsody is the best known), Berberian presented a myriad of personas

by deconstructing her own voice as instrument and object, thereby subverting her

relation to the authorial power of the musical score. As such, Berberian’s work invites

us to rethink the authorial position of the composer in relation to the singer/performer as

1
Luciano Berio – to whom Cathy Berberian was married from 1950 to 1964 – both showcased and

deconstructed Cathy’s voice in Thema (Omaggio a Joyce) (1958) and wrote his Circles (1960) and

Recital I (for Cathy) (1972) for her. The influence that Berberian as a mezzo soprano, ‘cantatrice’ and

avant-garde opera singer had on composers, such as Berio, equally explains her own artistic

developments in extending vocality and her own vocal techniques in relation to these composers. So far,

this relation has been overlooked in music scholarship and has yet to be analyzed with an informed sense

of historicity. The present chapter, however, solely looks at Berberian’s best known work, Stripsody

(1966) in relation to ideas of contemporary vocality from a rather theoretical and conceptual point of

view, despite Jennifer Paull’s assertion that Cathy Berberian always turned sick only minutes into others’

explanations of her work on a deeper, conceptual level.

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well as the position of the listener who imagines such personas in relation to seeing and

hearing the performer’s singing body.

My focus in this chapter is primarily theoretical, notwithstanding a much needed

reappraisal of the historical relevance of Berberian’s influence on twentieth century

developments in music and vocality. My theoretical angle is much in debt to both

feminist and poststructuralist concerns that were conceived around the same time as

Berberian’s performing days. Feminist theories have often stressed the female voice’s

autonomy over authority, logos, signification, such as in Dunn and Jones (1994). In

such a theoretical debate, one would focus on the construction of non-verbal meanings

as to highlight the materiality and corporeality of Berberian’s voice, what Roland

Barthes called the ‘grain’ of the voice (le grain de la voix, 1972), thereby opposing

patriarchal culture and discursive practices of meaning making. Poststructuralist

theories of voice, such as Michel Poizat’s (1992), have taken this opposition further to

claim a desire for, and ecstasy in, listening to the singing voice that takes the listener to

a point ‘on the verge of disappearing, of losing himself, of dissolving in this voice, just

as the singer on the stage seems on the verge of disappearing as a human subject to

become sheer voice, sheer vocal object’.2

The non-verbal vocality in Cathy Berberian’s Stripsody (1966), however,

subverts the listening position of the opera aficionado with a jouissance in and for the

2
Michel Poizat, The Angel’s Cry: Beyond the Pleasure Principle in Opera, trans. Arthur Denner (Ithaca

and London: Cornell University Press, 1992), p. 4.

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voice as vocal object of his3 desire and, thereby, of the diva’s self-annihilation.

Berberian’s vocal composition demonstrates that the pleasure of the voice is not

produced by driving the listener away from meaning. On the contrary, Stripsody invites

the listener to read the material deconstructions of her voice as a text or a book that

mockingly exposes his unremitting quest for signification. As such, this work offers an

understanding of the voice’s relation to meaning, and the pleasure we take from it.

In the present chapter, I present a reading of Stripsody in both performance and

score with which I will demonstrate how Cathy Berberian invokes a perversion of the

artistic, operatic voice as being ‘scored’ in the graphical text of a composition, and in a

traditional musicological analysis of it, as well as in the listener’s reading of the

performance. I contend that the underlying workings of this perversion can be

conceptualised through Barthes’s (1973) understanding of ‘vocal writing’. This notion

allows me to question the authorial issue, as discussed by Edward T. Cone in his oft-

quoted book The Composer’s Voice (1974), in which he introduces the idea of a ‘vocal

persona’ in relation to a composer’s image transcended in the music. By way of this

theoretically informed critique, I will compare Cone’s concept of the vocal persona to

Peter Kivy’s (1994) appraisal of ‘realistic song’ and Steven Connor’s (2000)

understanding of a ‘vocalic body’ (or voice-body), as a way to study the particular

listening positions that Stripsody provokes in the listener.

3
I apologize for the gendering of the ‘male’ listener throughout this chapter, which is purely incidental

for pragmatic reasons and not theoretically gender-specific. However, in the context of jouissance in

Barthes’ sense, it must be sadly observed that its conceptualization and cultural history has been

predominantly male in relation to the often-female voice as its object of attention.

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Vocal Excess versus Reading the Score

When looking at a video recording4 of Stripsody today, one might be struck at first by

Cathy Berberian’s appearance in her ostentatiously vibrant dress and iconic, shiny pale

hair, the rigidity of which might give the impression of an outmoded theatre wig atop an

equally outmoded operatic practice. The theatricality of her outward bodily and facial

mimicry of a diva is in shrill contrast to the onomatopoeic vocal sounds with which

Berberian seems to acoustically imitate and sketch out situations from the everyday and

popular audio culture. As the title suggests, Stripsody is based on sounds of comic-

books as well as many popular sound icons that could be taken from a radio show or the

FX toolbox of a Foley-artist in bygone American movie and television craftsmanship.

The Batman television series as well as Roy Lichtenstein’s pop art paintings from the

end of the 1960s may well have been a source of inspiration. But the main source seems

to be Charles Schultz’s Peanuts cartoon strip. One might also easily come to believe

that Berberian’s vocal gymnastics5 are as improvised as a jazz artist’s solo, if it were not

for the score visibly stationed in front of the singer.

4
I could only access Stripsody as recorded footage and written score, thereby admittedly being aware of

the limitations of this analysis of Cathy Berberian’s performance as well as audience response. However,

I am confident that these materials are sufficient as a basis for theoretical reflections.

5
Berberian, in interviews, compared her vocal virtuosity to acrobatics (‘vocal acrobatics’), in which the

audience finds the thrill of the performer risking her life each night (Cathy’s Solo Talk Show, Dutch KRO

radio show in four programmes, aired in May 1979). A YouTube version based on the 1980 compilation

can be found here: http://youtu.be/TctIDIs11zY, date accessed 1st July 2011.

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 One of the scores6 that Berberian commissioned for her performance is

evocatively drawn by Roberto Zamarin. The score reads like a strip cartoon, populated

with characters (Tarzan and Superman, among others) and linearly arranged as pictorial

scenes. Just like any other musical score, the verticality of score lines suggests

approximate pitch whereas the phrasing is marked by bars, suggesting auditory scenes

for musical execution. The instruction on the score reads: ‘The score should be

performed as if [by] a radio sound man, without any props, who must provide all the

sound effects with his voice’.7 Berberian’s performance for all its theatricality is no less

visual than the score, although the staging was in most cases kept to a minimum8 as to

not let the attention go astray from the concert situation and the score. The score

indicates that ‘wherever possible, gestures and body movements should be simultaneous

with the vocal gestures’.9 In other words, all gestures are in a supporting position to the

vocal execution of the score.

6
Cathy Berberian, Stripsody, 1966. Edition Peters no. 66164 © 1966 by C.F. Peters Corporation, New

York. Reproduced by permission of Peters Edition Limited, London (taken from Shaw-Miller 2002) p.

24.

7
Qtd. in Shaw-Miller Simon, Visible Deeds of Music: Art and Music from Wagner to Cage (New Haven

and London: Yale University Press, 2002), pp. 22-23.

8
In the video recording, one could see in the background a couple of towers made of blocks on which

some of the onomatopoeic sounds are written in subtle graphic ways. Besides this, the wooden concert

stage is empty.

9
Shaw-Miller, p. 23.

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 As such, the audience is constantly reminded of the presence of the score in the

performance: a score of which the executing interpreter is also the author. Nonetheless,

Berberian’s flamboyant persona as well as her wide-ranging vocal artistry pushes the

audience’s attention every so often away from ‘it’, so that the listener can pair the

auditory pictures or scenes to his own imagination. The sense of presence of the score

should, therefore, be understood as twofold: the composition presents itself as both a

graphical score – rather mockingly when compared to the carefully crafted graphical

scores by Sylvano Bussotti, for instance – and a scripted sound work that needs to be

performed for its completion in the listener’s mind’s eye. Listening becomes a way of

reading by the listener, but also by the singer-author herself who produces the score

anew on stage.

This congenial paradox in listening to the voice as both reading a text and

pertaining to its corporeality, sonority and texture has been conceptualised by Barthes

(1991) through his notion of ‘vocal writing’: a writing aloud, an écriture sonore, as if

composing with the voice at the present instance of singing. Berberian’s reading of the

musical score as performance text – of which she is herself the author – can be regarded

as such an instance of vocal writing, as if the score is being written in the moment of its

execution. This can be understood in relation to Barthes’ notion of the ‘pleasure of the

text’, leading to pre-Oedipal jouissance, often referred to as bliss in English translations.

In S/Z: An Essay (1970), Barthes acknowledges the embodied and disruptive power of

music by associating it with orgasm. Barthes develops the notion of ‘bliss’ (jouissance)

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later in his seminal essay Le Plaisir du texte (1973).10 Bliss, according to Barthes, is the

pleasure in reading that comes with instances of loss and collapse of the subject,

alternating with a sense of stability and consistency of the self. Such instances of crisis

in the subject are mostly predicated by an excess in meaning.

Vocal writing also suggests such an excess in the voice, which hinges upon a

similar paradox of voice in both its production and reception, as Mladen Dolar (2006)

suggests:

So both hearing and emitting a voice present an excess, a surplus of authority on the one hand
and a surplus of exposure on the other. There is a too-much of the voice in the exterior because
of the direct transition into the interior, without defenses [sic]; and there is a too-much of the
voice stemming from the inside – it brings out more, and other things, than one would intend.
One is too exposed to the voice and the voice exposes too much, one incorporates and one expels
too much.11

According to Dolar, the voice always presents excess in its authorial address to, and

exposure of, the listener, who is made vulnerable due to his defenceless (inner) ears. It

is this vocal excess that destabilises the listener as listening subject, which in his turn

feels incited to regain control over the ‘too-much of voice’ through reading. As such,

bliss – as a temporal arrest that destabilises the subject due to this excess – never

10
This book has been translated as The Pleasure of the Text by Richard Miller (1990). The term

jouissance is originally Lacan’s reworking of Freud’s ‘(un)pleasure principle’ in his seminar The Ethics

of Psychoanalysis (1959-60).

11
Mladen Dolar, A Voice and Nothing More (Cambridge, Massachusetts & London: The MIT Press,

2006), p. 81.

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operates beyond meaning: it takes place through meaning making, in the listener’s

reading of voice, yet it manages to sidetrack it and temporarily suspend signification.

Stripsody demonstrates then that it is through reading the vocal imagery that one

can encounter the body in the voice. And this reading is propelled by means of a vocal

excess which the listener tries to cope with, or even ‘filter’ by means of his signification

processes. The jouissance that Cathy Berberian offers through her singing as vocal

writing shows how the pleasure in the voice is so much rooted in the listener’s

unremitting quest for signification through reading.

In order to understand now how this quest is in itself rooted in bodily pleasure,

one could compare the listener’s impulse to read Berberian’s singing as vocal writing to

the unconscious, habitual practice of ‘subvocalisation’. When we read words on a page,

we seem to subvocalise them, which actualises the ‘shimmer of virtual sounds’ into

their possible meanings through our bodies. As such, Katherine Hayles (1997)

formulates three consequences of this notion:

First, the bodily enactment of suppressed sound plays a central role in the reading process.
Second, reading is akin to the interior monologue that we all engage in, except that it supplies us
with another story (usually a more interesting one) than that we manufacture for ourselves to
assure ourselves we exist. Third, the production of subvocalized sound may be as important to
subjectivity as it is to literary language.12

12
Katherine N. Hayles, ‘Voices Out of Bodies, Bodies Out of Voices: Audiotape and the Production of

Subjectivity’, Sound States: Innovative Poetics and Acoustical Technologies, ed. Adalaide Morris

(Chapel Hill & London: University of North Carolina Press, 1997), pp. 74-5.

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Although Hayles focuses on the impulse of subvocalisation in reading literary texts,

Berberian’s Stripsody presents us with an expansion of this notion. The onomatopoeic

sounds that Berberian produces induce a reflection upon our own minds and bodies, of

the extent to which we can read and interpret the sounds in relation to what we know

and what we can understand. As such, similar to subvocalisation, we interiorise what we

hear as meaningful sound by relating it to our bodies, while positioning ourselves in

relation to the vocal excess by means of what we consider as meaningful. In this way,

Stripsody challenges the listener’s readability and intelligibility in reading the vocal

events as a score: a performance score rather than a performed one.

By stressing the reading act as subvocalised sound, Stripsody creates a double

awareness in the listener which produces a sense of reading a text that seems to be

shared with the performer: while the singer overtly reads from a score of which she is

the author, and therefore the direct source of the auditory imagination it enables, the

listener is being made aware of her – and ultimately his own – reading of the sounding

score. This double awareness questions the issue of authority and authorship in relation

to interpreting the score. Although the listener is aware of listening to a score composed

and interpreted by Cathy Berberian whose voice and vocal dominance on stage induces

authority for all its excess, her body and vocal gestures move the attention away in

order to speak to the listener’s private imagination. As such, the composition appears as

a series of gestures, with which the corresponding acoustic events produce sonic

pictures for the mind’s eye to recognize in relation to a plausible context that creates

coherence between the events. This context is partly induced by the concert situation,

partly by the representation in the sounds themselves. I will elaborate on this point later

when introducing Kivy’s specific modes of listening to operatic singing.

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 For now it suffices to understand that in terms of its imaginary appeal, the

performance of the score is comparable to the performance of a shadow theatre, or

perhaps closer to an audio drama, fuelling the imagination of the audience as far as one

can read and determine the representations within a certain frame of interpretation.

Sound obviously does not have such a clear reference frame that contains the sound in

the same way as it frames a visual image. Due to its inherence in libidinal power and

corporeal materiality, the voice is always in excess to such a frame of reference. But in

the minimally staged concert setting, the vocal excess in Stripsody intensifies the

reading process and most strikingly prompts the listener to interpret the vocal and

acoustic events in terms of some kind of narrative. As the last part of the word strip-

sody suggests, the sounding score reads like a rhapsody, an ecstatic musical expression

that is irregular in form and suggestive of improvisation. Its ‘improvising’ performer-

interpreter as well as author-composer could then appear as a narrator who steps aside

from her poetry, thereby moving the attention away from her personality, her authorship

of the score to the many, different material voices she constructs and deconstructs in

decomposing the score through her performance.

A Myriad of Vocal Personae

It has been noted before that Cathy Berberian had a remarkable vocal range of timbres,

modulations and (extended) techniques, which made many an aficionado believe that

she had the ability to sing in many different voices.13 Stripsody reads as a specimen

13
This multiplicity of Berberian’s voice is also suggested by the subtitle of the compilation of recordings

in MagnifiCathy: The Many Voices of Cathy Berberian from 1988. One could also see Berio’s influence

here with his quest to multiply the voice (for instance, in Visage), in which Berberian played a major role.

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book of her vocal artistry. Vocal writing, that is the notion of ‘writing aloud’ according

to Barthes, is key to this plurality of voice. Through her own vocal writing in this

composition, Berberian ‘decomposes’ her own voice in all its technical and sonorous

splendour, demonstrating the many voices she masters, even though at the edge of what

is unheard of in classical vocality. She presents us with the cartography of a singer

indicating the limits of her vocal signature. By pushing the boundaries with many acoustic

samples of her vocal capacity, Stripsody presents us with a polylogue of voices, a

compendium or portfolio of what Berberian’s voice can do.

I argued earlier that this plurality of voice deconstructs the authority and

authorship of the composer and the score in the actual performance as well as its

perception. Berberian’s work should, therefore, be understood as part of a historical

development in composition and performance of Western art music highly influenced

by pop and (post-)modern art, which share a desire to erase the authorial, disembodied

voice of an author/composer.14 Following this line of thought, I would like to argue

further that Berberian’s vocal variety taunts the debates around ‘voice’ as a concept in

14
The erasure of the composer’s voice is also a central concern in feminist studies of the singing voice,

such as Dunn and Jones 1994, which focuses on the displacement of the female voice – through its

‘alignment with the material, the irrational, the pre-cultural, and the musical’ – in a patriarchal order

(‘espoused by the text’) where this voice is regarded as transgressive, over-sexual, disturbing, and

therefore, threatening. ‘The mastering of that threat is enacted ... discursively, through the containment of

her utterance within a textuality identified as masculine, thus opposing her literal, embodied vocality to

his metaphorical, disembodied “voice.”’ (Dunn and Jones 1994) p. 7. However, Cathy Berberian’s close

collaboration with male composers as well as the polyvocality in her own compositional work, such as

Stripsody, defy such rigorous, categorical, gender distinctions.

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musical composition, such as Edward T. Cone (1974) has described as resonating

intelligence which thinks through the musical work.

Cone correlates the voice with the supposed creative mind that would have

constructed the work as a whole. Although he develops this idea through vocal music,

his concept of voice should not be confused with the vocal part of the piece – the

composer’s voice may as well be lodged in the accompaniment, for example. In this

view, music may be perceived as issuing in a composer’s throat, in a figurative sense, as

subvocalised thought. Through her notion of the ‘unsung voice’, Carolyn Abbate

(1991), however, criticizes the idea of a ‘monological’ authority of ‘the Composer’, as

expressed in Cone’s concept, and proposes an alternative of ‘multiple musical voices

that inhabit a work’15, ‘an aural vision of music animated by multiple, decentred voices

localized in several invisible bodies’.16

As such, Stripsody – which most notably carries ‘per voce sola / solo voice’ as a

subtitle – demonstrates that both the pre-composed and the corresponding sounding

voice, belonging to the same composer and performer, can contribute to a multiple

sense of vocal personae in the listener’s imagination. This multiplicity disrupts a

homogeneous sense of a historically determined composer’s voice, however virtual

15
Carolyn Abbate, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton:

Princeton University Press, 1991), p. x.

16
Abbate, p. 13. I am in great debt to Tereza Havelková (Charles University Prague), with whom I

developed these ideas together in an earlier, unpublished paper, written for the international conference

Cathy Berberian: Pioneer of Contemporary Vocality, 26–28 April 2006 at the University of Amsterdam,

the Netherlands. Some of the phrasings here cannot be removed from her distinguished, authoritative

voice.

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(metaphorical) or real (physical) this voice may be as the intelligence and musical

genius behind the musical performance. It is rather in the multiplicity of personae in

both music and performance that Cathy Berberian deconstructs her own authorship.

In this context, one could think of how ‘voice’ as concept in Berberian’s score

relates to Berberian’s stage persona, which is determined by her visual, bodily and fairly

theatrical presence merged with personal memories of her previous performances, her

vocal capacities and media presence. One could even think of how this stage persona is

challenged – if not superimposed – by the myriad of sounding personae, which are

realized by the embodied performance of the score, Berberian’s vocal and bodily

gestures and the acoustic events they produce. Besides the iconic sounds related to

cartoon figures such as Tarzan, Superman and some of the Peanuts characters, there are

many vocal personae – anthropomorphic or not – that one could infer from Stripsody’s

sounding score. There is, for instance, the voice of a concerned woman calling a cat in a

tree, followed by a young girl with “naturally curly hair” and a thick American accent

(presumably, Frieda in the Peanuts comic strip) to which another, deeper sounding

voice – perhaps the narrator’s but more in line with expectations, Charlie Brown’s –

responds with “good grief”. These voices are accompanied by Berberian’s bodily

gestures of looking up to an imagined tree, preening her curled hair and casting her eyes

downward in a criticizing way. As when watching a play in the theatre, such

performative gestures and the corresponding images they engender move the attention

away from the stage persona of the performer or from an awareness of an author.

Equally, as if by ventriloquist’s magic, the rapidly succeeding voices move the

spectator’s attention away from their originating body, thereby masking Berberian’s

persona as performer and composer.

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 The concept of ‘persona’ has an etymological referent in the Latin word per-

sonare, to sound through, which most fittingly refers back to the voice sounding through

the ancient masks of Greek tragedy. Through such early forms of masking the voice in

the literal sense – with its ensuing experience of vocal disembodiment – fictional

characters could appear in the spectator’s imagination. One could then imagine a virtual

character, an ‘intelligence’ or authoritative voice as persona in the narration and

narrative (i.e. diegetic) world. Cone (1974) provides us with further related definitions

of the persona in music. He distinguishes the vocal persona, in the case of the singing

voice in vocal music, from musical persona, to describe purely instrumental music or

musical accompaniment. According to him, both constitute narrative voices in music.

Cone defines a vocal persona as a projection of a vocal performer, an embodiment of a

character or a narrator. The term musical persona thereby denotes a vehicle of the

composer’s message.

With regard to these definitions, Cone warns us not to confuse the composer

with the persona in music: ‘This locution also reminds us that the persona is by no

means identical with the composer; it is a projection of his musical intelligence,

constituting the mind, so to speak, of the composition in question’.17 Cone’s musical

persona constitutes what narratology has conceptualised as the ‘implied author’,

meaning an image of the author by the reader in the process of reading.18 In this way, he

17
Edward T. Cone, The Composer’s Voice (Berkeley & Los Angeles, London: University of California

Press, 1974), p. 57.

18
According to the Routledge Encyclopedia of Narrative Theory (2005), the implied author is defined as

‘a “voiceless” and depersonified phenomenon (Diengott 1993, p. 73) which is neither speaker, voice,

subject, nor participant in the narrative communication situation’ (p. 240). The “implied” or inferred

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suggests that narrative meanings could be experienced as intended and generated by an

implied author through voices in the music that would project the composer’s inner

voice (that is, a ‘complete’ musical persona). However, through Stripsody, I would like

to dispute the intentionality of such a projection by the composer even when Berberian

is performing the composition as authorial voice herself. That is, the projection of the

composer’s ‘intelligence’ as implied author is not constitutive of the personae that the

piece evokes in the listener’s imagination.

Cone’s model suggests a triadic relation between the (implied) composer’s voice

as virtual author of the piece, the musical and vocal personae.19 This still assumes a

hierarchical relation, as Abbate has criticized, towards a monological authority of the

composer. When applied to Berberian’s Stripsody, however, one needs to acknowledge

that the many vocal personae obliterate a single or homogeneous sense of musical

persona as an image of an author or composer for at least two reasons. First of all, the

vocal personae coincide with the musical persona since the composition consists of

Berberian’s voice exclusively20, and non-musical vocal sounds disrupt the constitution

of a ‘complete’ musical persona. Second, in some cases, the vocal personae tend to refer

back to the composer’s voice in a commenting gesture. For instance, while gesturing as

if turning a radio button, Berberian abruptly switches halfway from an operatic song

phrase in Verdi’s La Traviata (‘sempre libera degg’io follegg–iare de gioja vo’che

scorra il viver mio pei sentie’) to her performance of The Beatles song Ticket to Ride,

author is a concept introduced by Wayne C. Booth (1961; 1983) to denote an image of the author as

constructed by the reader in the process of reading the narrative.

19
Cone, pp. 17-18.
20
Ibid., p. 57.

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which is finally disrupted by a weather forecast in a British accent. Such bodily and

vocal gestures are to produce comical effect in their references to the singer’s metier, be

it pop or opera. As such, when Berberian performs her own score, the vocal personae

seem to produce a space for mocking self-referentiality and critique towards its (virtual)

composer.

Hence, whatever personae one may perceive while listening to and watching

Cathy Berberian perform her own piece, her bodily gestures often make the myriad

voices perceived as not issuing from what might be both figuratively and literally

understood as the composer’s throat. Rather, as Abbate has eloquently formulated it:

As a consequence of the inherently live and performed existence of music, its own voices are

stubborn, insisting upon their privilege. They manifest themselves, in my interpretations, as

different kinds or modes of music that inhabit a single work. They are not uncovered by analyses

that assume all music in a given work is stylistically or technically identical, originating from a

single source in ‘the Composer.’21

Berberian’s performance of Stripsody confirms Abbate’s critique of an analysis that

starts from the premise of the composer’s voice as reflected in the composition. Rather,

by analyzing the vocal personae that the performance of the composition elucidates, one

cannot but acknowledge the many modes of music production and reception to which

the singing – or sounding – voice in relation to the composition gives rise.

21
Abbate, p. 12.

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Between Concert and Representation

Above, I argued most consciously that the performance of Stripsody ‘often’ elicits vocal

personae depending on the listeners’ interpretative capacities to recognize them as such.

However, most likely because of Berberian performing her score, one cannot but help

noticing the performer-composer in action, the bodily presence of the ‘cantatrice’ on the

concert stage. Notwithstanding the piece’s focus on the iconic sound representations

and images it evokes, the concert situation has also a residue in the experience of the

concertgoer. Therefore, we need a supplementary step in our analysis of Stripsody that

would allow for the inclusion of such oscillations in the listener’s perception between

concert and representation.

Inspired by Abbate’s suggestion that the many musical voices in a single work

manifest themselves as different ‘modes of music’22, I suggest unravelling the seeming

paradox in our perception of both vocal personae in the sounding score and the

performing body on stage by means of a discussion of the modes to which the work

gives rise. Peter Kivy (1994) provides a helpful argumentation in that respect when

reflecting on how the singing voice in the context of opera – and I will argue that it

could also hold for a vocal performance such as Stripsody – functions as a

representational medium that, depending on its own degree of opacity, calls for different

perceptual attitudes or modes.

In his article “Speech, Song, and the Transparency of the Medium” (1994), Kivy

starts off with deconstructing Cone’s (1989) approach to what the latter has called

‘operatic’ and ‘realistic’ song. Cone’s rather basic distinction depends on whether a

22
Ibid., p. 12.

127

song in an operatic work is merely to be understood by a standard operatic convention

as a representation of speech expressed in song (operatic song) or means to represent

‘real’ singing in the fictional world of the character who is then the so-called

‘composer-singer’ of her or his own song (realistic song). Operatic singing further has a

representational function, building up a fictional or diegetic world in which singing is a

sign for speaking. Realistic singing is also still a representation, but of a mimetic kind:

singing is a sign for actual singing in the represented space. Cone concludes with

obliterating this distinction, suggesting that all operatic singing actually is realistic

singing. He hints at the context of opera to support his claim: ‘song is the natural

medium of expression for operatic characters … [I]magine a world in which singing is

the norm and speaking the exception: that is the world of opera.’23

This does not only hold for song in the operatic convention. Although Stripsody

is not strictly speaking operatic or realistic song in Cone’s distinction, for all its non-

verbal and non-musical use of voice, it does invite the listener to read the vocal sounds

in terms of representations of actual sounds and voices they can relate to. In the concert

situation, as in opera, the singing and sounding voice is the medium of expression in

which Berberian appears as composer-singer. At times, she might even be seen as the

narrator creating a diegetic world – a cartoon world perhaps – out of sound by

suggesting a linear or chronological line between the various sound events she

produces. In this way, Stripsody demonstrates a particular (per-)version of Cone’s

notion of realistic song as part of a strategy to create a fictional world.

23
Cone 1989, qtd. in Peter Kivy, ‘Speech, Song, and the Transparency of Medium: A Note on Operatic

Metaphysics’, The Journal of Aesthetics and Art Criticism, 52.1, The Philosophy of Music (Winter,

1994), p. 64.

128

 Kivy, however, makes a more nuanced argument out of Cone’s conclusion from

a different take on operatic song, which in my view could be expanded to any type of

(live) music performance in a (semi-)theatrical or concert context such as Stripsody’s.

Following Arthur C. Danto (1981), Kivy starts with the observation that the

representational medium is never really eliminable, never vaporized into pure content.24

No complete transparency of the medium is possible, though there are works of art and

styles that can be more or less transparent. Kivy remarks that it is only when we become

aware of the medium interposed between us and the content, that ‘it has received the

impress of the artist’s hand’.25 In other words, the opacity of the medium makes us

aware of an authorial instance and of its construction. When applied to vocal music as a

medium, this would imply that the voice can obtrude in our experience as it keeps us

aware of its performance. This creates ambiguity in our experience of operatic song.

What happens in our perception when we attend to a singer on stage is:

[W]e are in a mode of attention that is both – and very strongly both – one of attending to a

singer giving a ‘performance’ (remember how the action comes to a full stop for the applause!),

and attending to a character in a drama making an expressive utterance.26

According to Kivy, what we hear when listening to the singing voice is the medium in

which we are totally involved: we are listening to singing, which is both representation

and performance.27 Depending on whether the listener wants to focus on the

24
Kivy, p. 66 and Arthur C. Danto The Transfiguration of the Commonplace: A Philosophy of Art.

Cambridge, Massachusetts: Harvard University Press, 1981.

25
Ibid., p. 67.
26
Ibid., p. 68.
27
Ibid., p. 67.

129

representations or on the performance, Peter Kivy respectively coins the terms

representational and concert or recital attitude.28 Kivy stresses the close entanglement

between both modes. With these modes, he moves away from an assumed intentional

functionality (the ontological or metaphysical perspective) as derived from an implied

composer’s voice in the work.

In line with Kivy’s argument, we can explain now how the artist’s presence on

stage in front of her own score creates significant implications for our perception of

Berberian’s performance of Stripsody. The presence of the score on stage reinforces the

idea that this is a concert, in which the listener can focus on the virtuosity of the

performance. The interpretation of the piece as either concert or representation depends

however on selective attention and corresponding modes in the auditor-spectator.

Stripsody invites us to imagine a fictional world, a narrative line or at least a frame

beyond the concert/performance situation that would help us to place the many vocal

sounds in a temporary coherent context. As such, the various vocal personae to which

the sounding score gives rise are part of the representational mode of attention. Besides

this, Berberian’s theatrical appearance can also be read as a fictional character herself

that is part of the imaginary realm of opera, in which her stage persona plays with iconic

stereotypes associated with this artistic – and artificial – environment. After the

performance, though, the applause reminds us again of the concert situation which we

have just been witnessing.

Moreover, Kivy’s argument gives way to a correlation between the level of

opacity of the musical performance and its modes of representation. According to Kivy,

28
Ibid., p. 68-9.

130

the concert attitude is mutually reinforced by extreme ‘opacity’.29 This opacity of the

medium is characteristic to opera: ‘Nowhere are we more perceptually aware of the

medium, and less of content, than in opera and music drama’.30 The opacity can be seen

in relation to what I have earlier referred to as the excess of voice, which could enhance

a sense of self-reflexivity of ‘voice’ within the voice. Kivy reminds us then that the

voice as medium is never really eliminateble, never vaporised into pure content.31 He

explains that we only become aware of the medium interposed between us and its

content when we sense the artist’s mode of production. What we hear is the medium, in

which we are totally involved. This awareness is produced by the opacity of the medium

to which the presence of an author (‘the artist’s hand’) in the music would draw our

attention.

Stripsody plays with a similar awareness of the voice’s opacity: although we

know that we engage in Berberian’s voice, all we hear is her voice as medium of her

expression; simultaneously we cannot but listen to the sounds as representations. Kivy’s

argument explains then how the sounds, songs and gestures of Berberian’s voice

produce different virtual personae that are both a part of and differ from her persona as

author of her own expressions, while we are at the same time aware of Berberian

performing as a singer. These perceptions are part of different modes of looking and

listening that are continuously oscillating.

29
Ibid., p. 69.

30
Ibid., p. 68.

31
Ibid., p. 66.

131

 Peter Rabinowitz (2004) confirms this idea of multiplicity of modes, of which

Stripsody makes us aware:

[…] fictional music can invite the listener to occupy several different listening positions

simultaneously. The multiplicity, analogous to certain techniques central to purely verbal

narrative (especially fiction) allows the music not merely to ‘represent’ various states but also to

manipulate the listener into taking a position with respect to them.32

Through listening, the listener can take up different positions in relation to the

performance. As the interplay between concert/recital and representational modes in

Stripsody suggests, some of these positions can collide; for instance, when we attend to

Berberian’s performance as concert while inferring vocal personae as representational in

a possible diegetic world. At times, these positions can shift our attention, unnoticeably,

thereby prompting other modes of attention. The switching of listening positions helps

us to create coherence to our auditory experiences and disambiguates the excess of the

voice and, thereby, its opacity as medium.

Stripping Voice-Bodies

The modes of looking and listening that Stripsody invite to an audience are dependent

upon Berberian’s vocal artistry and performative persona as part of the concert

situation. Equally, the perception of various vocal personae as part of a representational

32
Peter J. Rabinowitz, ‘Music, Genre, and Narrative Theory’, Narrative across Media: The Languages of

Storytelling, ed. Marie-Laure Ryan (Lincoln & London: University of Nebraska Press, 2004), p. 307.

132

world decentres an assumed composer’s voice as virtual author within the composition.

At the very end, Berberian turns directly to her listener by pointing to him with her

finger as if shooting in a children’s game of combative role play, such as ‘Cowboys and

Indians’ or ‘Cops and Robbers’. With this teasingly theatrical gesture, she seems to

arrest the listener’s imagining ear and to prompt him to take up a position, while

disclosing the distant way of positioning herself in the concert situation. Though a little

too light-hearted to be truly a Brechtian gesture of Verfremdung (alienation) or

Publikumsbeschimpfung in Peter Handke’s sense of the word, the imaginative shooting

gesture seems to suggest that the singer-composer is aiming at the audience’s fragile

bodies in the ‘safe’ and comfy seats of the auditorium.

Therefore, as a final step in my analysis, I wish to return to the experience of

pleasure (jouissance) in reading Stripsody, which I introduced at the beginning of this

chapter, and connect this to the way we perceive and imagine Berberian’s many voices

and vocal gestures in relation to our own bodies. As the final gesture seems to indicate,

Stripsody exposes the listener’s unremitting quest for signification in most playful and

mocking ways. As such, this work offers an understanding of the voice’s relation to

meaning, and the pleasure we take from it in our embodied experiences of ourselves.

Psychoanalytical studies have stressed that the experience of a voice is closely related to

how we sense ourselves as subjects in the world. Likewise, listening to the extremities

of Berberian’s vocal capacity could affect our sense of self as listening subjects in the

ways in which we position ourselves in relation to the event.

Steven Connor ultimately offers a useful concept to discuss how we place bodies

in relation to voices and in relation to ourselves: the voice-body or vocalic body.

Connor has coined these terms: ‘For voice is not simply an emission of the body; it is
133

also the imaginary production of a secondary body, a body double: a “voice-body”’.33

According to Connor, the voice gives rise to a second, imaginary body, due to its

lingering excess:

In fact, so strong is the embodying power of the voice, that this process occurs not only in the

case of voices that seem separated from their obvious or natural sources, but also in voices, or

patterned vocal inflections, or postures, that have a clearly identifiable source, but seem in

various ways excessive to that source. This voice then conjures for itself a different kind of

body; an imaginary body which may contradict, compete with, replace, or even reshape the

actual, visible body of the speaker. […] The leading characteristic of the voice-body is to be a

body-in-invention, an impossible, imaginary body in the course of being found and formed. But

it is possible to isolate some of the contours, functions, and postures by means of which vocalic

bodies come into being.34

The imaginary body that the voice conjures up is, according to Connor, due to an excess

in relation to the physical, visually identifiable source body, which marks the voice’s

inherent placelessness (or a-topicality). Connor seems then to suggest a connection

between this vocal excess and the listener’s imaginary production – an ‘invocation’, so

to speak – of the voice-body, which includes postures, gestures, movements and other

ways of expression that are not, strictly speaking, sound. Connor further distinguishes

the voice-body most significantly from the voice in the body, as his notion also

incorporates the entirety of gestures that accompany the voice such as facial expression,

movements of the shoulders, hands, arms:

33
Steven Connor, Dumbstruck: A Cultural History of Ventriloquism (Oxford: Oxford University Press,
2000), pp. 35-42.
34
Ibid., p. 36.

134

 [T]he voice also induces and is taken up into the movements of the body. The face is part of the
voice’s apparatus, as are the hands. The shaping of the air effected by the mouth, hands and
shoulders marks out the lineaments of the voice-body (which is to be distinguished from the
voice in the body). When one clicks one’s fingers for emphasis, claps one’s hands, or slaps one’s
thigh, the work of gesture is being taken over into sound, and voice has migrated into the
fingers.35

As Connor suggests, the voice – in combination with the gestures that go along with it –

produces a voice-body or vocalic body beyond the singer’s actual body on stage, which

speaks to us, addresses us and invokes our imaginations. Similarly, a vocal performance

such as Stripsody that flirts with vocal excess, produces a double awareness of the body

in the auditor-spectator: Berberian’s vocal sounds are in continuous excess to the

performing body, which invites the listener to imagine other bodies to locate the sounds.

As such, Connor’s notion of the voice-body helps to include the performative qualities

of the concert context in the representational mode of inferring the many vocal personae

within the composition.

Stripsody demonstrates then how such a voice-body comes about in relation to

our reading of the sounding score. The written score gives bodily impulses to the singer-

performer to emulate particular gestures that assist the auditor-spectator in his

assemblage of voice-bodies. On page ten in the Stripsody score, by way of a simple

example, just before the final ‘blow’, one can observe a break in the score that is

represented by ‘a drawing of a child with its thumb in its mouth (to silence the voice)

and its hand cupped to its ear (to visualize or draw attention to the sound’s absence), a

35
Steven Connor, ‘The Strains of the Voice’, Phonorama: Eine Kulturgeschichte der STIMME als

Medium. Catalogue, Zentrum für Kunst und Medientechnologie Karlsruhe, Museum für Neue Kunst, 18

September 2004 – 30 January 2005, ed. Brigitte Felderer (Berlin: MSB Matthes & Seitz, 2004), p. 163.

135

pose that the performer is to emulate’.36 This performative gesture could refer to the

Peanuts character of Linus van Pelt. The singer’s mimicry, in its turn, accompanied by

the sound of snoring, stimulates the image of a sleeping body in the mind of the

observer. In this way, the voice-body manifests itself as both a sonorous and

imaginative body that oscillates between singer, score, performance and the listener’s

imaginative capacity to make meaning of the sounds in relation to this composite

experience.

Finally, as the closing gesture of ‘shooting the audience’ suggests, Stripsody

taunts and displays the limits of our meaning-making capacities. The voice retains a

boundary to our efforts of placing it in relation to what we can understand as

meaningful, and thereby, in relation to ourselves. Connor traces this boundary in the

voice itself: ‘In all instancings and picturings of the vocalic body, the voice secretes a

fantasy of a body in its relations to itself, in what it does to the fabric of the very sound

it produces. The voice makes itself solid by its self-relation’.37 In this relation to itself,

the voice marks its own, distinct physicality through sound. This creates a limit to the

listener’s imagination of a voice-body, an imaginary body that is always bound to the

materiality of the voice and the presence of the singer. Hence, Berberian’s final gesture

strips off the concertgoer by means of his own imaginative acts of listening with which

he tried to make sense of the many voices in his experience. As a final act of self-

derision, Berberian draws these modes of interpretation towards her listener and his

bodily self.

36
Shaw-Miller, p. 23.
37
Connor, p. 37.

136

Postscript to a Dissident Voice

My aim in this chapter was to offer an alternative analysis of Stripsody that goes beyond

a dichotomy of the print score and the experience of the performance. In this way, I

tried to do justice to the artistic rationale and spirit of the piece, Berberian’s lifelong

research of her own voice, as well as the effects that her work still has on the listener

today when summoning up her voice and performance in video recordings. My analysis

did not aim at reconstructing a historicized experience but sparked off a theoretical

discussion of concepts related to the (singing) voice. Stripsody invited me then to revisit

such concepts as the vocal persona in the composition, concert and representational

modes in the experience of its sounding score, and the voice-body in the interpretation

of the voice and its bodily performance. All of these concepts helped me to explain

how, through Stripsody, Cathy Berberian multiplies her voice in order to deconstruct the

listener’s notion of a composer’s voice in the musical work. Rather, she presents the

score as a text or a book of comics that derisively exposes the listener’s search for

signification by way of an authorial voice. As such, Berberian’s physicality and vocal

excess presents us with a dissident voice – or rather, a ‘plurovocality’ – to the one we as

listeners would ascribe to as the (implied) author of Stripsody.

However, there is a danger to such an ‘immanent’ reading of the intended

meanings that could be disclosed through concepts in the work itself as it completely

disregards the historical reasons and contexts in which Berberian lived, performed and

developed her ideas about vocality as a dissident voice of her times. A conceptual

analysis has no value when it does not acknowledge the complex cultural and socio-

137

historical factors that underpin its object as well as its own taxonomy.38 Surely, a

realization of Berberian’s privileged but complicated position as a woman in the avant-

garde scene of the 1960s, as well as her close relation to male composers which

mutually influenced her status, would add more than a historical footnote to the

dissident voices that she presents. With Stripsody, Berberian operated both against and

within Western art music, by recycling, mocking and critiquing the industry around

earlier experiments with graphical scores such as Berio’s, for which she provided the

inspiration and materiality through her voice. As such, her playful critique was re-

appropriated by that same art scene and industry that had already welcomed pop art and

popular music as part of the postmodern paradigm that was in full swing.

Stripsody’s many voices cannot exist without their interpretation and execution.

It is in this light that Berberian’s dissidence – and great musical wit – towards the

tradition of executing a score within a concert situation and its patterns of expectation in

listening, with its much sought-after jouissance, reveals its splendour to us: not just in

her magisterial performance in the past, or in her democratizing attitude towards

composing/writing the voice, but in the many re-readings, re-interpretations and

38
My analysis did, for instance, not recognize Berberian’s identity as Diaspora Armenian-American and

her relation to her family’s past with the immigration to the US that had started in the late 19th century

due to the Armenian genocides in Turkey. Clearly, Stripsody makes no reference to such a historical

framework, which therefore seems not to matter to an immanent reading of the piece although there is a

cultural resonance in her creating a synthesis of American sounds. However, the total exclusion of such

historical factors that would necessarily politicize the work and Berberian’s voice as dissident voice, be it

moderately, is also worth careful attention.

138

inspirations of her bold vocality that lives on in the work of vocal performers and

singers today, and hopefully, if history allows it, of many more to come.

139

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Berberian,’ Paper delivered at the international conference Cathy Berberian, Pioneer of
Contemporary Vocality and Performance. Amsterdam University. 26-28 April 2006.

Harris, Geraldine. Staging Femininities: Performance and Performativity. Manchester:

Manchester University Press, 1999.

Hayles, N. Katherine, ‘Voices Out of Bodies, Bodies Out of Voices: Audiotape and the
Production of Subjectivity’, Sound States: Innovative Poetics and Acoustical
Technologies, ed. Adalaide Morris (Chapel Hill & London: University of North
Carolina Press, 1997).

Herman, David (Ed.) et al, Routledge Encyclopedia of Narrative Theory (Abingdon:

Routledge, 2005).

Hirst, Linda and Wright, David, ‘Alternative Voices: Contemporary Vocal Techniques’,
John Potter, ed., The Cambridge Companion to Singing (Cambridge: Cambridge
University Press, 2000),

Horkheimer, Max and Adorno, Theodor W. Dialectiek van de verlichting, trans. Michel
J. van Nieuwstadt (Nijmegen: SUN, 1987).

Horner, Keith, ‘Cathy Berberian - Queen Elizabeth Hall’, The Times, 18 October 1972.

Hughes, Allen, ‘Music: Cathy Berberian Sings and Acts’, The New York Times, 18
September 1973.

Karantonis, Pamela and Robinson, Dylan (eds) Opera Indigene: Re/presenting First
Nations and Indigenous Cultures (Farnham: Ashgate, 2011).

Kivy, Peter. “Speech, Song, and the Transparency of the Medium: A Note on Operatic
Metaphysics’, The Journal of Aesthetics and Art Criticism, 52.1, The Philosophy of
Music (Winter, 1994).

Klein, Howard, “Cathy Berberian Sings Cage Music,” New York Times, 26 October
1966.

336

Koestenbaum, Wayne, The Queen’s Throat: Opera, Homosexuality and the Mystery of
the Desire (London: Poseidon, 1993).

Lehmann Hans-Thies. Postdramatic Theatre trans. Karen Jürs-Munby. London:

Routledge, 2006.

Mathon, Genèvieve, “Aria de John Cage” in Les Cahiers du CIREM 18-19 (1991): 41-
49.

McClary, Susan. Feminine Endings: Music, Gender and Sexuality (Minneapolis:

University of Minneapolis, 1991).

Menezes, Flo, ‘Das “laborinthische” Verhältnis van Text und Musik bei Luciano Berio’,
Luciano Berio, Musik-Konzepte 128 (München, 2005).

Meyer, Moe, ‘Reclaiming the discourse of Camp’ The Politics and Poetics of Camp,
Ed. Moe Meyer (London: Routledge, 1994).

Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern

Europe and America - Norton Introduction to Music History (New York: Norton,
1991).

Mulder, Etty, De zang van vogelvrouwen: Psychoanalytische verkenningen in mythe en

muziek (Leiden: De Plantage, 1994).

N.A., “Bel Canto and The Beatles,” Time, 2 June 1967. 58.

——“Festivals: Frightening the Fish”, Time, 4 October 1963. 76.

Oganjan, Karina, Stripsody, live performance, Luigi Nono Festival, 2007.

Osmond-Smith, David, Berio - Oxford Studies of Composers 20 (Oxford: Oxford

University Press, 1991).

—— “The Tenth Oscillator: The Work of Cathy Berberian 1958-1966” in Tempo 58

(2004): 2-13.

Paull, Jennifer, Cathy Berberian and Music’s Muses (Tallahassee: Amoris, 2007).

Placanica, Francesca, Cathy Berberian: Performance as Composition Masters

Dissertation (Dallas: Southern Methodist University, 2007).

—— “Unwrapping” the Voice: Cathy Berberian’s and John Cage’s Aria (1958). Paper
delivered at the 2009 American Musicological Society Annual Meeting, Philadelphia.

Potter, John (ed). The Cambridge Companion to Singing. Cambridge University Press,
2000.

337

—— Vocal Authority: Singing Style and Ideology. Cambridge University Press, 1998.

Poizat, Michel, The Angel’s Cry: Beyond the Pleasure Principle in Opera, trans. Arthur
Denner (Ithaca: Cornell University Press, 1992).

Rabinowitz, Peter J., “Music, Genre, and Narrative Theory” in Narrative across Media:
The Languages of Storytelling, ed. Marie-Laure Ryan (London: University of Nebraska
Press, 2004).

Réage, Pauline, The Story of O, (London: Random House, 1981: originally 1954).

Rich, Alan, “Blithe and Far-Out,” World Journal Tribune, 26 October 1966.

Riviere, Joan, ‘Womanliness as a Masquerade’, Victor Burgin, James Donald & Cora
Kaplan, (Eds.), Formations of Fantasy (London: Routledge, 1989).

Rizzardi, Veniero and De Benedictis, Angela Ida (eds), Nuova Music alla Radio:
Esperienze allo Studio di Fonologia della RAI di Milano 1954 – 1959 (CIDIM/RAI,
Italy, 2000).

Robertson, Pamela, Guilty Pleasures. Feminist Camp from Mae West to Madonna
(London: Tauris, 1996).

Rorem, Ned, “The Music of the Beatles,” New York Review of Books, 18 January 1968.

Saal, Hubert. “The Versatile Voice of Cathy Berberian” in Newsweek, Vol 68. 7th
November 1966.

Scaldaferri, Nicola, Musica nel laboratorio elettroacustico (Lucca: LIM, 1994).

—— ‘Bronze by gold, by Berio by Eco: A Journey through the Sirensong.’, trans.

Alessandra Petrina in Rizzardi and De Benedictis (eds), Nuova Music alla Radio:
Esperienze allo Studio di Fonologia della RAI di Milano 1954 – 1959 (CIDIM/RAI,
Italy, 2000).

—— “Folk songs de Luciano Berio; Eléments de recherche sur la genèse d’une oeuvre”
in Analyse Musicale 40 (2001): 42-54.

Schechner, Richard Performance Studies – An Introduction. London: Routledge, 2002.

—— Performance Theory, revised edn, (New York: Routledge, 1988, 2003)

Schwartz, Catherine Joan, ‘Constructing Vocal Bodies: Cathy Berberian, Sequenza III,
and the Creation of Cultural Possibilities.’ Bachelor of Music Thesis (University of
Illinois, 2001).

Sharpe, Matthew, ‘Jacques Lacan (1901 – 1981)’, Internet Encyclopedia of Philosophy,

http://www.iep.utm.edu/lacweb/ (published 2002, updated 2005, accessed 2010).
338

Shaw-Miller, Simon, Visible Deeds of Music: Art and Music from Wagner to Cage
(New Haven & London: Yale University Press, 2002).

Silverman, Kaja, The Acoustic Mirror: The Female Voice in Psychoanalysis and
Cinema (Bloomington: Indiana University Press, 1988).

Snapper, Juliana, ‘For a Woman to Sing/To Build: Cathy Berberian’s Radical

Femininity,’ Paper delivered at the international conference Cathy Berberian, Pioneer
of Contemporary Vocality and Performance. University of Amsterdam. 26-28 April
2006.

Solie, Ruth A., (Ed.), Musicology and Difference: Gender and Sexuality in Music
Scholarship (Berkeley: University of California Press, 1993).

Stoianova, Ivanka, Luciano Berio: Chemins en musique, 375–377 of La revue musicale

(Paris: Richard-Masse, 1985).

Strasberg, Lee. ‘Working with Live Material’ in TDR Vol. 9, No1 (1964). Pp 117-135.

Straus, J.N. Stravinsky’s Late Music (Cambridge: Cambridge University Press, 2001).

Stravinsky, Igor and Craft, Robert, Themes and Conclusions (London: Faber and Faber,
1972).

Stravinsky, Vera and Craft, Robert, Stravinsky in Pictures and Documents (London:
Hutchinson, 1979).

Taruskin, Richard. Text and Act: Essays on Music and Performance (Oxford: Oxford
University Press, 1995).

—— The Oxford History of Western Music: The Late Twentieth Century, Vol. 5,
(Oxford: Oxford University Press, 2005).

Thorncroft, Antony, ‘Cathy Berberian - Bloomsbury Theatre’, The Financial Times, 5

August 1982.

Trochimczyk, Maja, (Ed.), The Music of Louis Andriessen, (London: Routledge, 2002).

Ulman, Erik, “The Music of Sylvano Bussotti” in Perspectives of New Music 34 (1996):
186-201.

Välimäki, Susanna, Subject Strategies in Music: a Psychoanalytic Approach to Musical

Signification (Helsinki: International Semiotics Institute, 2005).

Valle, Giorgio, “Berberian: un concerto di mille voci,” Grazia no. 2068 (1 March
1981).

Vila, Marie Christine, Cathy Berberian, cant’actrice (Paris: Fayard, 2003).

339

Weber, William, The Great Transformation of Musical Taste: Concert Programming
from Haydn to Brahms (Cambridge: Cambridge University Press, 2009).

Wood, Elizabeth, ‘Sapphonics’, Philip Brett, Elizabeth Wood, Gary Thomas, (Eds.),
Queering the Pitch: The New Gay and Lesbian Musicology (New York: Taylor and
Francis, 1994), 28–32.

Woods, Gregory, ‘High Culture and High Camp: The Case of Marcel Proust’, David
Bergman ed., Camp Grounds: Style and Homosexuality (Amherst: University of
Massachusetts Press, 1993), 121–33.

Worthen, William B., The Wadsworth Anthology of Drama, 4th Edition, (Boston:
Heinle, 2003).

W.S.M., ‘Songs and Operatic Arias. Cathy Berberian (soprano), Bruno Canino (piano).
RCA LRLI 5007 (JJ238). Recorded at the 1973 Edinburgh Festival’ Gramophone April
1974, 70.
th
http://www.jasperina.net – see ‘Cathy Berberian’ for film footage. Accessed 30
October 2012.

Primary Works

Andriessen, Louis, http://louisandriessen.blogspot.com/2009/07/letter-from-cathy.html

(last accessed 31st October 2012).

Arlen, Harold and Koehler, Ted, I Gotta Right to Sing the Blues (1932)

Berberian, Cathy, “La nuova vocalità nell’opera contemporanea,” in Discoteca 62

(1966): 34-35.
—— Stripsody (1966) Edition Peters no. 66164 © (New York: C.F. Peters
Corporation).

——From Monteverdi to the Beatles, recital at the Concertgebouw, Amsterdam, 1976.

Berio, Cristina, http://www.cathyberberian.com/ - the official website. (last accessed 31st

October 2012.

Berio, Luciano, Chamber Music (1953)

—— Thema (Omaggio a Joyce) (1958)
—— Circles (1960)
——Epifanie (1959-61 Rev. 1965)
——Laborintus II (1965)
—— Sequenza III (1966)
—— Sequenza V (1966)
—— Folk Songs No. 1 (1968)
340

—— Opera (1970)
—— Recital I (for Cathy) (1972)
——Calmo, in Memoriam Bruno Maderna (1974)

Berio, Luciano and Berberian, Cathy, Visage (1961)

Bernstein, Leonard and Sondheim, Stephen West Side Story (1957)

Bizet, Georges, Carmen (1875)

Bock, Jerry and Harnick, Sheldon, The Fiddler on the Roof (1964)

Borne, François, Carmen-Fantasie (c1880)

Boulez, Pierre, Improvisations sur Mallarmé I and II (1957)

Brecht, Bertolt and Weill, Kurt, Die Dreigroschenoper (1928)

Britten, Benjamin, Death in Venice (1973)

Bussotti, Sylvano, Voix de Femme VII from Pièces de chair II: pour piano, baryton, une
voix de femme, instruments (1958/59/60)

Cage, John, The Wonderful Widow of Eighteen Springs (1942)

——A Flower (1950)
——Aria with Fontana Mix (1958)

Caldara, Antonio, Selve amiche (1711)

Chaminade, Cécile Concertino (1902)

Coleman, Cy and Fields, Dorothy, Sweet Charity (1966)

Debussy, Claude, Fantoches (1891)

—— Trois Chansons de Bilitis (1897-1898)

Delibes, Léo, Les Filles de Cadiz (1874)

—— Lakmé (1883)

Donaldson, Walter and Kahn, Gus, Carolina in the Morning (1922)

Donizetti, Gaetano, Lucrezia Borgia (1834)

341

——Don Pasquale (1843)

Dreyer, Dave and Ruby, Herman, Cecilia (1925)

Erickson, Robert, Ricercare á 5 for five trombones or solo trombone and 4 self-
prepared tapes (1966)

Eulenburg, Philipp zu, Rosenlieder (c.1888)

Gershwin, George and Ira, Embraceable You (1930)

—— Porgy and Bess (1935)

Glazunov, Alexander, Chant du Ménestrel (1901)

Grainger, Porter, T’ain't Nobody's Biz-ness If I Do (1922)

Hahn, Reynaldo, L’heure exquise from Sept Chansons grises (1887-1890)

——Offrande (1891)

Henderson, Ray, Button Up Your Overcoat (1928)

Kreisler, Fritz Liebeslied (1910)

La Barbara, Joan, Tapesongs (Chiaroscuro, 1978; re-released on Voice is the Original

Instrument, Lovely Music, 2003).

Lehman, Liza, There are Fairies at the Bottom of our Garden (1917)

Loewe, Carl, Mädchen sind wie der Wind (1818)

Maderna, Bruno, Serenata No. 2 (1954/1956)

Mendelssohn, Felix, Frühlingslied (c1845)

Monteverdi, Claudio, Il combattimento di tancredi e clorinda (c1638)

Moszkowski, Moritz, Gondoliera (1892)

Mussorgsky, Modest, Mephistopheles' Song of the Flea (1879)

Offenbach, Jacques, La Perichole (1868)

—— Le Charbonnier et le Farinier (n.d.)
342

Pankhurst, E, Father’s a Drunkard and Mother Is Dead (1866)

Popper, David, Hungarian Rhapsody (1892)

——Notturno (1896)

Porter, Cole, I Get a Kick Out of You from Anything Goes (1934)
—— Friendship (1939)

Pousseur, Henri, Phonèmes pour Cathy (Edizioni Suvini Zerboni, 1973)

Puccini, Giacomo, La Bohème (1895)

Purcell, Henry, The Faerie Queene (1692)

—— Nymphs and Shepherds (1692)

Ravel, Maurice, Pavane pour une infante défunte (1899)

Rifkin, Joshua, The Baroque Beatles Book, (Nonesuch 517948 1966, 2009)

Rossini, Giacchino
—— Il barbiere di Siviglia (1816)
——La Cenerentola (1817)
—— Il duetto buffo dei gatti (attributed, c 1820s)
—— La chanson du Bébé - 2e Miscellanées de musique vocale, no. 2 (c1860)

Saint-Saëns, Camille, Danse Macabre (1874)

Scarlatti, Alessandro, Spesso vibra per suo gioco (c1690s)

Schoenberg, Arnold, Pierrot Lunaire (1912)

Sibelius, Jean, Den första kyssen (c1900)

Strauss, Richard, Der Rosenkavalier (1910)

Stravinsky, Igor, Le Sacre du Printemps (1913)

—— Trois petites chansons (Souvenir de mon enfance) (1913)
—— Pribaoutki (1914)
—— Berceuses du chat (1916)
—— Renard (1916)
—— Trois histoires pour enfants (1917)

343

—— Quatre chants russes (1919)
—— Les cinq doigts (1921)
—— The Rake’s Progress (1951)
—— Three Songs from William Shakespeare (1953)
—— Eight Instrumental Miniatures (1962)
—— Elegy for J.F.K. (1964)
—— The Owl and the Pussycat (1966)

Sullivan, Arthur Seymour, The sun, whose rays are all ablaze from The Mikado (1885)

Tosti, Francesco Paolo, Pianto di Monaca (1890)

Traditional, Turkey in the Straw (c1820s)

—— I’ve Been Working on the Railroad (1800s)
——Les Deux Guitares

Verdi, Giuseppe, Stornello (1869)

——Aida (1871)

Weill, Kurt, The Seven Deadly Sins (1933)

Wolf, Hugo, Spanisches Liederbuch (1891)

Work, Henry Clay, My Grandfather’s Clock (1876)

Youmans, Vincent and Eliscu, Edward, Orchids in the Moonlight (1933)

Recorded Works

Amirkhanians, Charles, Other Minds. Cathy Berberian on KPFA’s Ode To Gravity

Series (MP3 audiofile). November 1, 1972, 1 min., 31 sec., 31 mm; from RadiOM.Org/
Interviews.from RadiOM.Org/ Interviews. http://radiom.org/berberianOTG.php (last
accessed July 24, 2010).

Barock and Roll Ensemble, Eine Kleine Beatlemusic (His Master’s Voice, 7EG 8887,
1965).

BBC Radio Desert Island Discs – Cathy Berberian. Originally broadcast in the United
Kingdom on the 16th September, 1978. http://www.bbc.co.uk/radio4/features/desert-
st
island-discs/castaway/cec43935#p009myfr (accessed 31 October 2012).

Becker, Walter and Fagen, Donald, Steely Dan - Countdown to Ecstasy ABC Records
1973 ABCX-779.

Berberian, Cathy, Cathy’s Solo Talk Show, KRO Radio, The Netherlands, May 1979.
344

—— Revolution. An Operatic First by Madame Cathy Berberian (Fontana Records,
1967; recorded in 1966. MGF 27654. Re-issued as Beatles-Arias Philips 885524 PY
and Ina Telescopic CD, 2004.

—— MagnifiCathy: The Many Voices of Cathy Berberian CD: Wergo,

1993.WER600054-50.

—— Nel labirinto della voce CD: Aura Surround Sound B000050JG8, 2000.

Berberian, Cathy, and Canino, Bruno, Cathy Berberian at the Edinburgh Festival: À la
recherche de la Musique perdue, or from the sublime to the ridiculous’ LP: 1973. RCA
LRL 15007.

—— À la recherche de la musique perdue 1974 performance released as CD: RTVE,

1990. Musica 65000,

—— ‘Wie einst in schöner'n Tagen’. Salonmusik der Gründerzeit. EMI Electrola

GmbH, His Master’s Voice, 1976. 1C 187-30 681/82,.

——Cathy Berberian’s Second Hand Songs. Recorded at Theater am Turm, Frankfurt

in 1980, PHL 8104. Issued as an LP in 1981.

Berberian, Cathy, interviewed by Silvana Ottieri, Tape 19 Side A, Milan, 1981.

Transcribed and printed in Francesca Placanica, Cathy Berberian: Performance as
Composition, M.M. Th. (Southern Methodist University, 2007).

Berio, Luciano, Beatles Songs, Universal Edition 33098, 1967.

——Luciano Berio Many More Voices. CD BMG 09026-68302-2 (1998).
——Omaggio a Joyce: Documenti sulla qualità onomatopeica del linguaggio poetico
in Rizzardi, Veniero and De Benedictis, Angela Ida (eds), Nuova Music alla Radio:
Esperienze allo Studio di Fonologia della RAI di Milano 1954 – 1959 (CIDIM/RAI,
Italy, 2000). CD (re-release of 1958 recording in 2000).
——Thema (Omaggio a Joyce) CD Acousmatrix 7, Berio / Maderna, BVHaast CD
9109 (1991).

De Swaan, Carrie, Music Is the Air I Breathe, Documentary film. (Amsterdam: 1995).
1925*-1983. Amsterdam: Swaan Productions, 1994. * De Swaan records the singer’s
birth date incorrectly on the cassette cover as 1928. VHS: VPRO.
Jenkins, Florence Foster, The Glory (????) of the Human Voice (BMG Classics GD
61175), 1992.

Lennon, John and McCartney, Paul. Recordings of The Beatles were originally released
throught the Parlophone / E.M.I. Record Label, United Kingdom. The following list
includes the names of singles as well as albums.
——All My Loving (1963)
——Hold Me Tight (1963)
——I’ll Get You (1963)
345

——I Want to Hold Your Hand (1963)
——Please Please Me (1963)
——She Loves You (1963)
——Thank You Girl (1963)
——A Hard Day’s Night (1964)
——Eight Days a Week (1964)
——Help! (1965)
——In My Life (1965)
—— Michelle (1965)
——Rubber Soul (1965)
—— Ticket to Ride (1965)
——Yesterday (1965)
—— You’ve Got to Hide Your Love Away (1965)
——Eleanor Rigby (1966)
——Revolver (1966)
——Penny Lane (1967)
——Yellow Submarine (1969)

Preminger, Otto and Hammerstein II, Oscar, Carmen Jones (Hollywood: Twentieth
Century Fox, 1954)

Russell, Ken, The Devils, London: Russo Productions, 1971, 117mins (restored edition)

Stravinsky, Igor, Igor Stravinsky 1882-1971, The Edition, SONY™ SM2K 46 298,
originally CBS 72881

346