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Irna Priore

Irna Priore is Associate Professor of Music Theory at the University of North Carolina at Greensboro. Her publications appear in Theoria, Theory and Practice, Analytical Approaches to World Music, Indiana Theory Review, etc. She has received grants to conduct research at the Paul Sacher Foundation, International Institute of Darmstadt, RAI in Milan, Universal Editions in Vienna, IRCAM in Paris, and the Paul Sacher Foundation in Basel. She serves on the editorial board of AAWM journal and the Opus Magazine. She has served as reviewer for the Journal of Schenkerian Studies, Journal of American Music, and Opus Magazine. Her research interests the Darmstadt School, Luciano Berio, and Brazilian popular music.

There are 8 included publications by Irna Priore :

TitleDateViewsBrief Description
Authenticity and Performance Practice: Bossa Nova and João Gilberto. 2008 365 In 2008, we commemorate the 50th anniversary of the release of Chega de Saudades. 2 Considered as the album that ›changed everything‹ and the one which brought the idea of bossa nova to the center of an avalanche of arguments, Chega de Saudades st...
The Compositional Techniques of Messiaen’s Le Merle Noir 2001 2058 Olivier Messiaen infused compositions with a love of nature and the Catholic faith. Messiaen (1908-1992) stayed away from fashionable trends and schools, opting to develop a highly personal style for rhythmic complexity, rich tonal colors, and unusua...
Density 21.5 2000 975 As a flute student, I was aware of discussions concerning a possible wrong note in the score of Edgard Varèse's Density 21.5. When I shifted my focus from the flute to music theory, Tadeu Coelho asked me for an analysis to support such a claim. A stu...
Further Considerations about the Continuous ^5 with an Introduction and Explanation of Schenker’s Five Interruption Models 2004 482 Schenker’s works span about thirty years, from his early performance editions in the first decade of the twentieth century to Free Composition in 1935. Nevertheless, the focus of modern scholarship has most often been on the ideas contained in this ...
Griffes' Poem: Considerations about Performance Practice 1996 3001 Poem by Charles Tomlinson Griffes is one of the most- loved pieces in the American flute repertoire. With all its popularity, the work has been a target of arguments concerning wrong notes, cadenzas, and the validity of Barrère's edition. Flutists st...
A Response to John Wion 2001 217 In response to John Wion's letter in the January issue, my article on Density 21.5 cited the views of Thomas Nyfenger on possible errors in measure 23. Despite the implication of Flute Talk's title, I was not trying to correct Varese, but rather vali...
Theories of Histories of Serialism: Terminology, Aesthetics, and Practice in Post-War Europe – as Viewed by Luciano Berio 2011 220 This article addresses the problem of the terminology associated with serialism and the use of serialism as practice after 1950.4 The article is divided into two parts: the first begins by addressing the role of the Darmstadt Summer Courses in the pr...
Vestiges of Twelve-Tone Practice as Compositional Process in Berio’s Sequenza I for Solo Flute 2007 333 Luciano Berio’s first Sequenza dates from 1958 and was written for the Italian flutist Severino Gazzelloni (1919–92). The first Sequenza is an important work in many ways. It not only inaugurates the Sequenza series, but is also the third major work ...