1.0Centro Studi Luciano Beriohttps://dev.lucianoberio.org/en/wedesignhttps://dev.lucianoberio.org/en/author/wedesign/rich600338<blockquote class="wp-embedded-content" data-secret="vbPLknK3XK"><a href="https://dev.lucianoberio.org/en/program-note-work/rounds-authors-note/">Rounds (author’s note)</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://dev.lucianoberio.org/en/program-note-work/rounds-authors-note/embed/#?secret=vbPLknK3XK" width="600" height="338" title="“Rounds (author’s note)” — Centro Studi Luciano Berio" data-secret="vbPLknK3XK" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://dev.lucianoberio.org/wp-includes/js/wp-embed.min.js </script> Rounds for harpsichord (1966) Rounds breaks up into four segments that are first played in contrasting registrations. The score is then turned upside down, thereby causing changes in pitch and timbre. Subsequently the player returns it to its first position but plays at a faster tempo. All the possibilities offered by the harpsichord are exploited […]