摘要：Background in music psychology. Psychological approach to communicational process during
performing and listening is directed towards personal perception and/or experience induced by
music, as well as to the understanding roles of expression in compositional and performing
processes. Performer intents to convey messages by his/her musical interpretation, but also by
the nonverbal channels inducing a kind of ‘motor mimicry’ and emotional apperception.
Different levels of experience and comprehension are engaged and intertwined – physical,
emotional, cognitive and metaphorical.
Background in music history. In Sequenzas Luciano Berio requires the ‘virtuosity of
knowledge’ from the performer, a virtuosity that often entails a thoroughgoing understanding of
the history of instrument. Sequenza VI for viola is a work of considerable difficulty and it draws
researcher’s attention to the history of the instrument, as well as to the analytical presentation of
the work. In performance actions, the body of the player and the body of the instrument become
a single entity. Physical theatricality is also found in aural and visual drama of Sequenza VI
(Halfyard).
Aims. We aim to reveal the quality of musical/auditive, expressional, metaphorical and
kinesthetic levels of communication in the tetrad: Berio’s Sequenza VI – viola – performer –
listeners.
Main contribution. Method is an empirical research that includes live performing and
responses of viola player and group of listeners on musical, cognitive, expressional and
kinesthetic level. Qualitative content analysis of participants’ reports and narratives has been
done. Sample is consisted of 23 participants divided into groups, on the basis of expertise:
musical experts and non-musicians. The results suggest that there are patterns of musical,
expressional and kinesthetic interactions viewed through the psychological and social context
of communication. Music communication model during live performance of Berio’s Sequenza
VI has been suggested.
Implications. Berio’s music demonstrates that expression does not come necessarily from any
sentimentalism: the capacity of expression is written in the human nature. The music invents on
this reality which is made of time, of movements, of gestures, of multiform languages
(Imberty). Knowledge could be used in music education for defining differential strategies of
interaction with audience during performance.
关键词：Berio’s Sequenza VI, viola, performer, listeners, communication model, live performance,
narrative, nonverbal communication, dramatic expressivity.
