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Cathy Berberian: Pioneer of Contemporary Vocality
P. Karantonis, F. Placanica, A. Sivuoja-Kauppala, P. Verstraete (eds.)
Farnham, UK: Ashgate Publishing, 2014. 249 pp.
Kristina Warren
University of Virginia, Composition & Computer Technologies
kristina.warren@virginia.edu

Cathy Berberian: Pioneer of Contemporary Vocality is a welcome exception to the dearth of critical
writing on the titular artist, a central force in 20th century vocal music. Berberian’s (1925-1983) creativeand performative contributions to works ostensibly composed by Berio, Cage, Maderna, and othersfrequently amounted to co-authorship; and she spearheaded many of her own projects, including thepiece Stripsody, the album Beatles Arias, and the recital series “À la recherche de la musique perdue.”
Notably, this is not the first substantial volume on Berberian. Marie Christine Vila’s (2003) and Jennifer
Paull’s (2007)1 formidable biographies emphasize Berberian’s evocative performance style and hermagnetic personality. The present volume, then, is unique in its focus on critical content and in its
active effort to recover Berberian to a discourse that, until recently, has largely failed to acknowledge
her creative achievements.
This collection treats as theoretical linchpin Berberian’s credo-like “The New Vocality inContemporary Music,” originally published in Italian in 1966 and in English for the first time in thepresent volume. Berberian identifies the New Vocality with the “possibilities and musical attitudes” (47)arising from flexibility of vocal style and technique, interrogation of reality in the recording studio, andactive discourse with tradition. This volume makes a convincing case that Berberian’s is a radical andagential stance on voice, rendering her as much a composer as a performer.
Francesca Placanica frames many of the recurring themes of the collection, placing particularemphasis on the equation of performance and composition in Berberian’s own work. Crucially,
Berberian’s (so-called) realizations have often become authoritative versions which directly influencesubsequent vocalists’ approaches to particular works. Equally significant is Berberian’s wide stylistic
facility, encompassing pop, classical, and contemporary art musics alike. Placanica relates this stylistic
diversity to Berberian’s stance of respectful but active engagement with tradition in “The New Vocality.”
Later in the collection, Kristin Norderval’s chapter excerpts interviews with Meredith Monk, Joan La
Barbara, Pamela Z, and other vocalists about Berberian’s work. Many of these artists recall that
Berberian’s stylistic juxtapositions registered as truly paradigm-shifting.
Pieter Verstraete’s chapter on Stripsody (1966) highlights the multiplicity of vocal characters thatcomprise this piece. For Verstraete, Berberian’s adoption of numerous vocal personas – including
Tarzan, a saucy little girl, and many nameless sound effects – destabilizes the sense of a unified
1Vila, Marie Christine. Cathy Berberian, cant’actrice. Paris: Fayard, 2003.
Paull, Jennifer. Cathy Berberian and Music’s Muses. Tallahasse: Amoris, 2007.
Published in the Journal of the International Alliance for Women in Music, Fall 2015.

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composerly voice underlying the work. Perhaps the greatest strength of this chapter is its discussion
following Peter Kivy, who classifies song by the degree to which listeners suspend their disbelief about
the performance context,2 and Steven Connor, who argues that listeners customarily imagine thehypothetical body that produces a voice.3 Verstraete contends that Berberian’s voicing of multiple
characters causes listeners to imagine multiple hypothetical bodies, which in turn leads them toexamine voice, embodiment, and performance in a new light.
Hannah Bosma’s contribution centers on the tape piece Thema (Omaggio a Joyce) (1958), acollaboration between Berberian, Luciano Berio, and Umberto Eco. Bosma argues that a primary
outcome of listeners’ interpretive work in this piece is the likening of Berberian’s voice to that of theSiren of Homeric tradition. Several “cultural fictions” (110) around non-verbal voice inform this mappingof Berberian’s voice to the Siren’s, including the relationship between mother and young child in its prediscursive phase, and the ambiguously “frightening or alluring” (111) female cry. Bosma concludes thechapter with the brief but tantalizing suggestion that, alternatively, the non-verbal voice may allude topre-verbal language, admitting particular possibilities of beauty and structure. Throughout, Bosma’s
argument displays great restraint: though she herself seems to hope that disordered vocal sound cansignify beauty instead of pure chaos, she acknowledges that the extant culture of listening favors theperhaps more obvious interpretation of Berberian’s voice as Siren’s.
Anne Sivuoja-Kauppala discusses the camp nature of Berberian’s vocal recitals, including theseries “À la recherche de la musique perdue” (c. 1971) and “Second Hand Songs” (c. 1980). She
argues that Berberian’s stage design, allusions to singing styles of other vocalists, and direct address of
the audience express semi-knowing humor and constitute performance of self and context – hallmarksof camp. Sivuoja-Kauppala’s notion that Berberian “turn[ed] the recital into the ‘recital’” (134) is
especially powerful in light of Berberian’s simultaneous respect for and wariness of the recital tradition
in “The New Vocality.”
Pamela Karantonis argues that impersonation is key to Berberian’s oeuvre, and that thesinger’s many vocal characterizations are so convincing precisely because she undertakes artful
departures from classical vocal techniques and contexts. Thus, Karantonis suggests, the theoretical
apparatus of opera studies is not well suited to addressing Berberian’s work. Instead, performancestudies is far more relevant, particularly because of Berberian’s polystylism and her insistence thatsingers work to creatively interpret the music. Berberian’s equal investment in the sonic and dramatic
content of her work also manifests in her visual self-presentation. Karantonis rightly notes that
“Berberian pointed the way for the contemporary singer, who must not only sound with the body but
must author the visual presentation of the body in an expertly prepared way” (165; italics original).

2Kivy, Peter. “Speech, Song, and the Transparency of the Medium: A Note on Operatic Metaphysics.” The
Journal of Aesthetics and Art Criticism 52:1 (Winter 1994), 63-68.
3Connor, Steven. Dumbstruck: A Cultural History of Ventriloquism. Oxford: Oxford University Press, 2000.
Published in the Journal of the International Alliance for Women in Music, Fall 2015.

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One oft-cited work in this collection is The Composer’s Voice (1974), in which Edward T. Cone
theorizes the existence of a composerly presence, called a persona, underpinning a musical work.4 The
contributors argue that Berberian herself provides much of this sense of compositional subject in theworks she performs. Whether in her elaborate yet subtle improvisations in the recording studio or in her
calculated and witty choice of performance costume, Berberian shapes compositional outcomesthrough her creative work. Yet the necessity of labeling Berberian a ‘composer’ so music history willremember her raises a much deeper issue. Cathy Berberian the book suggests that a re-calibration of
the discourse is needed; we must ask why ‘composers’ gain easy entry into the canon but ‘performers’
do not.
Cathy Berberian: Pioneer of Contemporary Vocality is a thorough-going and valuable addition tothe conversation on one of the most influential vocalists of the twentieth century. This volume isparticularly effective in conveying Berberian’s facility with many vocal styles and her important work
toward re-contextualizing the act of singing. Cathy Berberian the book is powerfully conscious of thediscourse at large, and the diverse critical accounts herein take great strides toward reclaiming for
Berberian a place in the dialogue and toward questioning the very process of canon construction.

Kristina Warren (kmwarren.org) is an electroacoustic composer and vocalist. Interests include noiseand repetition, digital processing of voice, and indeterminacy. Her music has been played at festivals
such as EABD, NYCEMF, and ICMC; and by ensembles such as Dither, loadbang, and Sō Percussion.

4Cone, Edward T. The Composer’s Voice. Berkeley: University of California Press, 1974.
Published in the Journal of the International Alliance for Women in Music, Fall 2015.