Vestiges of twelve-tone practice as compositional process in Berio’s “Sequenza I” for solo flute : Berio’s reworking of the “Sequenzas”
A dress or a straightjacket? : facing the problems of structure and periodicity posed by the notation of Berio’s “Sequenza VII” for oboe
Phantom rhythms, hidden harmonies : the use of the “sostenuto” pedal in Berio’s “Sequenza IV” for piano, “Leaf” and “Sonata”
Rhythm and timing in the two versions of Berio’s “Sequenza I” for flute solo : psychological and musical differences in performance
