Word: vowels
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Berio's, usual treatment of poetic texts is another example of his desire to real things apart, to lay them bare. Instead of using words for their meaning, he uses them purely for sound value. He manipulated consonants and vowel sounds like musical elements, altering them and recombining them to create emotional effects...
...Sequenza V for trombone is really a theater piece which grows out of a musical core. Body movements are a carefully indicated in the score as the notes. There are instructions about standing and sitting, and the position of the instrument as well as the usual grunts and vowel sounds. To add to the effect, the player is expected to wear a clown costume. It is this sense of theater, this reliance on dramatic rather than musical necessity, that is the driving force behind this and other Berio works...
Michael Crichton's THE GREAT TRAIN ROBBERY (Knopf; 266 pages; $7.95) happily contributes to the current revival of British imperial style. In Sherlock Holmes reprints, The Great Victorian Collection and innumerable biographies, Victoria Regina rides again. For this intricate mystery, her very nation moves to life. The vowel sounds and alley reeks, the technological detail and social lacunae-all are here, ornamenting a tale based on the celebrated 1850 heist...
Evans, a Manhattan dentist's son, relishes the growing legends that surround his success. With his darkly handsome face and deep mellifluous voice-a blend of West Side New York with Bill Buckley vowel attenuation-drama is his element. The wonder is that his own acting career failed. In fitting Old Hollywood style, he was "discovered" by Norma Shearer by the pool of the Beverly Hills Hotel. Shearer decided that Evans was the man to play her late husband, MGM Producer Irving Thalberg, in the film Man of a Thousand Faces. Evans has since been compared to Thai-berg...
...member added. "It isn't always that serious either, you know. A while ago, we were singing a Sermisy chanson which begins Au joly boys, en Tombre d'ung soucy,' and John pointed out that the whole phrase moved toward Tombre and its very nasal French vowel. Well, nobody was singing it correctly. So finally he said. 'When you sing Tombre, see nothing but a tremendous nose: Tombre,' which was really a good way of explaining to a vocalist that French vowels should vibrate in the nose and mask of the face when he or she sings...