The human voice played a significant part in the compositions of Luciano Berio throughout his career, a preoccupation to which he returned again and again in order to examine, interrogate and celebrate its complex interactions with language, text, music, time and memory. This article examines the human voice in situ, in the context of a live performance of one of Berio's late chamber pieces, Altra Voce (1999), comprising alto flute, mezzo soprano and live electronic processes. I argue that the human voice in musical performance inhabits a number of simultaneous, often paradoxical positions, giving rise to an inherent mutivalency of form: in Altra Voce, we find these multiple facets presented in a crystalline, multi-voiced musical construction. This analysis of the work is drawn from both a reflection on the printed score and from the author's own experience of its realisation as a listening performer, the better to ‘hear’ the multi-layered, polyphonic texture to its fullest extent. To examine and articulate the complexities of the voice’s interaction with time, memory and human interiority, this article draws on a number of tools, including musical and hermeneutic analysis, as well as a theoretical framework suggested by Jacques Derrida’s discussion of presence and time, found in his 1967 work Speech and Phenomena. I argue that what Berio’s Altra Voce demonstrates, and what resonates with Derrida’s argumentation, is the paradoxical relationship between the seemingly fixed moment of ‘live’ vociferation and the passage of time. In conclusion, this article suggests that Altra Voce presents a dialectical co-existence of these seemingly irreconcilable aspects, demonstrating the inherent and paradoxical multivalency of the human voice in every musical performance.

中文翻译：

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'来。张开你的眼睛。听着……我听到另一个声音”：卢西亚诺·贝里奥 (Luciano Berio) 的 Altra Voce (1999) 中的声音、时间和记忆

在 Luciano Berio 的整个职业生涯中，人声在他的作品中扮演着重要的角色，他一次又一次地回到这个当务之急，以检查、询问和庆祝其与语言、文本、音乐、时间和记忆的复杂互动。本文在 Berio 后期室内乐曲 Altra Voce (1999) 现场表演的背景下，现场检查了人声，包括中音长笛、女中音和现场电子过程。我认为音乐表演中的人声同时存在于许多同时存在的、通常是矛盾的位置，从而产生了一种固有的形式多元性：在 Altra Voce 中，我们发现这些多方面呈现在水晶般的多声部音乐结构中。对作品的这种分析既来自对印刷乐谱的反思，也来自作者作为聆听者实现其实现的经验，更好地“听到”多层、复调结构的最大程度。为了检查和阐明声音与时间、记忆和人类内在交互的复杂性，本文利用了许多工具，包括音乐和解释学分析，以及雅克德里达关于在场和时间的讨论中提出的理论框架，发现在他 1967 年的作品《言语与现象》中。我认为贝里奥的 Altra Voce 所展示的，以及与德里达的论证产生共鸣的，是看似固定的“现场”叫喊与时间流逝之间的矛盾关系。综上所述，