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Published online by Cambridge University Press: 06 December 2024
Luciano Berio’s modernism, which has fallen off the critical radar since the composer’s death, is not typically tied to extroverted political statements, and so does not easily allow for the fashionable (liberal) equation of aesthetic radicalism with political radicalism. On the contrary, Berio’s musical output is perhaps instructive precisely as a negative case study of the link between political and aesthetic radicalisms. Such will be the gambit of this article, which will consider the engagement with contemporary ideas of ‘openness’ and practices of phenomenology in works from the early 1960s, like Passaggio (1962) and Epifanie (1963), to illuminate Berio’s relationship to the so-called neoavanguardia, a cultural movement which emerged in the 1950s and 1960s as part of a withdrawal from the cultural–political activism associated within Italy’s leftist intelligentsia.
1 For the most recent English-language survey on the composer’s career, see Osmond-Smith, David, Berio (Oxford University Press, 1991)Google Scholar, which does not cover the (very productive) last decade and a half of the composer’s life. The recent collected editions on his theatre work, though wide ranging and often insightful, remain partial (see Ferrari, Giordano (ed.), Le Théâtre musical de Luciano Berio, 2 vols (Editions L’Harmattan, 2016))Google Scholar.
2 By contrast to Berio, there have been several English-language monographic studies of Nono in recent years alone; for example, Impett, Jonathan, Routledge Handbook to Luigi Nono and Musical Thought (Routledge, 2020)Google Scholar and Nielinger-Vakil, Carola, Luigi Nono: A Composer in Context (Cambridge University Press, 2016)Google Scholar.
3 For an overview and critical response to such literature, see Earle, Ben, ‘“In onore della Resistenza”: Mario Zafred and Symphonic Neorealism’, in Red Strains: Music and Communism Outside the Communist Bloc after 1945, ed. by Adlington, Robert (Oxford University Press, 2013), pp. 149–71Google Scholar.
4 The recent work of J. P. E. Harper-Scott exemplifies this critical line; see statement in The Event of Music History (Boydell Press, 2020), p. 2. Also see James Davis, ‘Review of The Event of Music History, by J. P. E. Harper-Scott’, Music & Letters, 103.3 (2022), pp. 576–81.
5 This is essentially the task of Martin Iddon’s monograph, New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez (Cambridge University Press, 2013) which, despite its wealth of useful and insightful material on the organizers, contributors, and attendees of the Darmstadt Summer Courses, cannot see the wood for the trees as it hunts in the serial methods of construction for proof of the inexistence of a stylistically defined ‘Darmstadt School’; the author loses sight of the fact that varied methods of serial construction remain tied to serial construction, and also pays limited attention to the similarities in the aesthetic results of these serial compositions. Another noteworthy proponent of such scholarship is Fox, Christopher, as in ‘Darmstadt and the Institutionalisation of Modernism’, Contemporary Music Review, 27.1 (2007), pp. 115–23CrossRefGoogle Scholar.
6 Joseph Kerman, Contemplating Musicology (Harvard University Press, 1985).
7 Iddon’s notion of ‘plurality’ (programmatically expressed in Martin Iddon, ‘Darmstadt Schools: Darmstadt as a Plural Phenomenon’, Tempo, 65.256 (2011), pp. 2–8) strategically retains the autonomy of individual composers in their art by emphasizing their personal, social connections. It thereby remains tied to the ‘rhetoric of autonomy’, as outlined in Wilson’s, Charles ‘György Ligeti and the Rhetoric of Autonomy’, Twentieth-Century Music, 1.1 (2004), pp. 5–28 CrossRefGoogle Scholar.
8 This tale has most famously been told by Saunders, Frances Stonor in The Cultural Cold War: The CIA and the World of Arts and Letters (Granta Books, 1999)Google Scholar. A more recent analysis is provided in Barnhisel’s, Greg Cold War Modernists (Columbia University Press, 2015)Google Scholar. Also noteworthy is Carroll’s, Mark Music and Ideology in Cold War Europe (Cambridge University Press, 2003)Google Scholar, which considers the early (and complex) position of modernist music in Cold War ideology by means of the 1952 Œuvre du XXe siècle festival.
9 Benjamin, Walter, ‘Theses on the Philosophy of History’, in Illuminations, trans. by Zohn, Harry (Schocken Books, 1969), pp. 253–64Google Scholar (p. 256). Here Benjamin claims: ‘Those who currently rule are however the heirs of all those who have ever been victorious. […] The spoils are, as was ever the case, carried along in the triumphal procession. They are known as the cultural heritage. […] It owes its existence not only to the toil of the great geniuses, who created it, but also to the nameless drudgery of its contemporaries. There has never been a document of culture, which is not simultaneously one of barbarism. And just as it is itself not free from barbarism, neither is it free from the process of transmission, in which it falls from one set of hands into another. The historical materialist thus moves as far away from this as measurably possible. He regards it as his task to brush history against the grain.’
10 Lepenies, Wolf, The Seduction of Culture in German History (Princeton University Press, 2006), p. 136 CrossRefGoogle Scholar.
11 See Iddon, New Music at Darmstadt, pp. 1–32.
12 Ginsborg, Paul, A History of Contemporary Italy, 1943–1980 (Penguin, 1990), pp. 39–71 Google Scholar.
13 Osmond-Smith, Berio, p. 1. See also Osmond-Smith, David, ‘From Myth to Music: Lévi-Strauss’s Mythologiques and Berio’s Sinfonia’, Musical Quarterly, 67 (1981), pp. 230–60CrossRefGoogle Scholar; Osmond-Smith, David, Playing on Words: A Guide to Luciano Berio’s Sinfonia (Ashgate, 1985)Google Scholar; Osmond-Smith, David, ‘Introduction’, in Berio’s Sequenzas: Essays on Performance, Composition and Analysis, ed. by Halfyard, Janet (Ashgate, 2007), pp. 1–7 CrossRefGoogle Scholar. Throughout Osmond-Smith’s later articles on La vera storia (1981) and Outis (1996) there are lengthy discussions of these operas’ dramatic structures, and some effort is made to incorporate contextual factors into political-philosophical readings of the two works. But ultimately the focus on the work in musical terms remains: greater attention on dramatic content supports extended considerations of how the music works within this dramaturgy in both articles, and Osmond-Smith’s attempts to historicize these works, is largely based upon comparisons with other texts in the operatic tradition or Berio’s past works. Though these trends are perhaps more apparent in the article on La vera storia than the article on Outis (with its sustained comparison of Outis with Joyce’s Finnegans Wake (1939)), the latter article still remains within the same problematic. See Osmond-Smith, David, ‘Nella Festa Tutto? Structure and Dramaturgy in Luciano Berio’s La vera storia ’, Cambridge Opera Journal, 9.3 (1997), pp. 281–94CrossRefGoogle Scholar; Osmond-Smith, David, ‘Here Comes Nobody: A Dramaturgical Exploration of Luciano Berio’s Outis ’, Cambridge Opera Journal, 12.2 (2000), pp. 163–78CrossRefGoogle Scholar.
14 For Berio’s own contribution to this discourse, see, for instance, Luciano Berio, Two Interviews, ed. and trans. by David Osmond-Smith (Marion Boyars, 1985), pp. 62–66.
15 Whittall, Arnold, Music Since the First World War (Oxford University Press, 1995), pp. 247–51Google Scholar. For further examples of formalistic analyses of Berio’s music, also see Neidhöfer, Christoph, ‘Inside Luciano Berio’s Serialism’, Music Analysis, 28.2–3 (2009), pp. 301–48CrossRefGoogle Scholar, and Hermann, Richard, ‘Luciano Berio’s Circles, First Movement’, Sonus, 4.2 (1984), pp. 26–45 Google Scholar.
16 See, for instance, Steinitz, Richard, György Ligeti: Music of the Imagination (Faber & Faber, 2003)Google Scholar; Toop, Richard, György Ligeti (Phaidon Press, 1999)Google Scholar; Griffiths, Paul, György Ligeti (Robson Books, 1983)Google Scholar; and Serby, Michael D., Ligeti’s Stylistic Crisis (Scarecrow Press, 2010)Google Scholar.
17 Examples include Casadei, Delia, ‘Milan’s Studio di Fonologia: Voice Politics in the City, 1955–8’, Journal of the Royal Musical Association, 141.2 (2016), pp. 403–43CrossRefGoogle Scholar; and Boyd-Bennett, Harriet, Opera in Postwar Venice: Cultural Politics and the Avant-Garde (Cambridge University Press, 2018), esp. pp. 154–78CrossRefGoogle Scholar.
18 Scherzinger, Martin, ‘Luciano Berio’s Coro: Nexus between African Music and Political Multitude’, in Luciano Berio: Nuove prospettive/New Perspectives, ed. by De Benedictis, Angela Ida (L. S. Olschki, 2012), pp. 399–432 Google Scholar; see also my critical response to Scherzinger in ‘“Come and See the Blood in the Streets”’: Luciano Berio, Coro, and the Affective Staging of the One-Crowd’, Music & Letters, 100.4 (2019), pp. 685–712.
19 Schwartz, Arman, ‘Prospero’s Isle and the Sirens’ Rock’, Cambridge Opera Journal, 15.1 (2003), pp. 83–106 CrossRefGoogle Scholar.
20 Berio, Luciano and Eco, Umberto, ‘Eco in Ascolto’, Contemporary Music Review, 5 (1989), pp. 1–8 (p. 5)CrossRefGoogle Scholar.
21 Ibid., pp. 4–5.
22 Max Loppert, ‘But What Is It About?’, Financial Times, 11 February 1989; Robert Henderson, ‘Pleasure of Berio’s Fantasy’, Weekend Telegraph, 11 February 1989; Edward Greenfield, ‘Prospero’s Majestic Earful’, The Guardian, 11 February 1989.
23 This is similarly the case with other recent analyses of Un re in ascolto; see Heile, Björn, ‘Prospero’s Death: Modernism, Anti-Humanism, and Un re in ascolto ’, in Ferrari, Le Théâtre musical de Luciano Berio, pp. 146–60Google Scholar; and Adlington, Robert, ‘“The Crises of Sense”: Listening to Un Re in Ascolto ’, in Ferrari, Le Théâtre musical de Luciano Berio, pp. 53–78 Google Scholar.
24 See Jameson, Fredric, The Political Unconscious, 2nd edn (Routledge, 2002), pp. 19–21 Google Scholar.
25 Berio, Two Interviews, p. 142. The Italian artist Enrico Baj (1924–2003) designed the scenic elements for the work’s premiere.
26 Berio, Luciano, ‘Meditation on a Twelve-Tone Horse’, Classic Essays on Twentieth-Century Music: A Continuing Symposium, ed. by Kostelanetz, Richard and Darby, Joseph (Wadsworth Publishing, 1996), pp. 167–71Google Scholar.
27 Berio, Two Interviews, p. 160.
28 Osmond-Smith, David, ‘Voicing the Labyrinth: The Collaborations of Edoardo Sanguineti and Luciano Berio’, Twentieth-Century Music, 9.1 (2012), pp. 63–78 (p. 69)CrossRefGoogle Scholar; Eugene Montale, ‘Didone Inglese Senza Enfasi’, Corriere d’informazione, 7 May 1963, p. 3; Franco Abbiati, ‘Forme teatralia agli antipodi nello spettacolo diretto da Maderna e Berio’, Corriere della sera, 7 May 1963; Giacomo Manzoni, ‘Luci e ombre nell’opera di Berio’, L’unità, 7 May 1963, p. 7.
29 Abbiati, ‘Forme teatralia’, p. 9.
30 Osmond-Smith, ‘Voicing the Labyrinth’, p. 69.
31 Adlington, ‘“The Crises of Sense”’, pp. 53–78; Carolyn Abbate and Roger Parker, A History of Opera (Penguin, 2012), p. 532.
32 Massimo Mila, ‘Un re in ascolto: Una vera opera’, in Berio, ed. by Enzo Restagno (EDT, 1995), pp. 107–12 (p. 112).
33 In the preface to the English translation of Two Interviews, Osmond-Smith notes how Berio revised the first interview with Rossana Dalmonte to produce ‘almost a “literary” text’.
34 Manzoni, ‘Luci e ombre nell’opera di Berio’, p. 7.
35 See Ginsborg, A History of Contemporary Italy, pp. 186–209. It is worth noting that Nono’s modernist language does not fully align with the revolutionary texts he set. There is in many respects a contradiction between the listening demands of this music and the communicative need for political mobilization. For a discussion of these issues, see Earle, ‘“In onore della Resistenza”’.
36 Berio, ‘Meditation on a Twelve-Tone Horse’, p. 168.
37 Ibid.
38 Umberto Eco, The Open Work, trans. by Anna Cancogni (Harvard University Press, 1989), p. 139.
39 See Ginsborg, A History of Contemporary Italy, pp. 210–53; and Clark, Martin, Modern Italy, 1871–1982 (Pearson Education, 1984), pp. 348–54Google Scholar.
40 Gundle, Stephen, Between Hollywood and Moscow: The Italian Communists and the Challenge of Mass Culture, 1943–1991 (Duke University Press, 2000), pp. 75, 78, 79–80CrossRefGoogle Scholar; Ginsborg, A History of Contemporary Italy, pp. 216, 217–33, 240–42. Radiotelevisione Italiana was the new name of Radio Auzioni Italiane following the acquisition of full stockholdings by the Italian state’s holding company (IRI) in 1954 and its launch of a television service. For a brief overview of the RAI during this period, see Matthew Hibberd, The Media in Italy (Open University Press, 2008), pp. 65–74.
41 Gundle, Between Hollywood and Moscow, pp. 114–18.
42 Gordon, Robert, ‘Impegno and Modernity: “High” Culture’, in Italy Since 1945, ed. by McCarthy, Patrick (Oxford University Press, 2000), pp. 197–213 (p. 208)Google Scholar; Eco, The Open Work Google Scholar; Chirumbolo, Paolo, Moroni, Mario, and Somigli, Luca (eds), Neoavanguardia: Italian Experimental Literature and Arts in the 1960s (University of Toronto Press, 2010)CrossRefGoogle Scholar. Through the 1950s much work by the Frankfurt School theorists was translated into Italian, with translations of Adorno’s Minima Moralia in 1954 and Philosophy of New Music and Dissonanze in 1959.
43 Bobbio, Norberto, Ideological Profile of Twentieth-Century Italy, trans. by Cochrane, Lydia G. (Princeton University Press, 1995), p. 160 CrossRefGoogle Scholar.
44 Schwarzmantel, John, The Routledge Guidebook to Gramsci’s Prison Notebooks (Routledge, 2014), p. 202 CrossRefGoogle Scholar; Gramsci, Antonio, Selections from the Prison Notebooks, ed. and trans. by Hoare, Quintin and Nowell-Smith, Geoffrey (Lawrence and Wishart, 1971), p. 145 Google Scholar.
45 Anderson, Perry, The New Old World (Verso, 2009), pp. 332–33.Google Scholar
46 Picchione, John, The New Avant-Garde in Italy (University of Toronto Press, 2004), p. viii CrossRefGoogle Scholar.
47 Codebò, Marco, ‘Between Words and Things: Intellectuals, Avant-Garde, and Social Class in Edoardo Sanguineti’, in Edoardo Sanguineti: Literature, Ideology and the Avant-Garde, ed. by Chirumbolo, Paolo and Picchione, John (Routledge, 2013), pp. 10–23 (p. 18)Google Scholar.
48 Mussgnug, Florian, ‘Writing Like Music: Luciano Berio, Umberto Eco and the New Avant-Garde’, Comparative Critical Studies, 5.1 (2008), pp. 81–97 (pp. 82, 83, 86, 87, 88)CrossRefGoogle Scholar.
49 For a theorization of modernist autonomization, see Jameson, Fredric, A Singular Modernity (Verso, 2002)Google Scholar.
50 For an early example, see Luciano Berio, ‘Cos’è dunque l’avanguardia fabbricata?’, in Scritti sulla musica, ed. by Angela Ida De Benedictis (Einaudi, 2013), pp. 368–69, trans. by author.
51 Luciano Berio, Intervista sulla musica (Editori Laterza, 2011), pp. 63–64, trans. by author.
52 Berio, ‘Cos’è dunque l’avanguardia fabbricata?’, p. 368, trans. by author.
53 Ibid.
54 Ibid.
55 Berio, Intervista sulla musica, p. 64., trans. by author.
56 Luigi Pareyson, Estetica: Teoria della formativita (orig. pub. 1954; Milan: Bompiani, 1988); for Eco’s review, see Umberto Eco, La definizione dell’arte (Grande Universale Mursia, 1985), pp. 9–31, or the partial English translation in Eco, The Open Work, pp. 158–66.
57 Eco, Umberto, ‘L’opera in movimento e la coscienza dell’epoca’, Incontri musicali, 3 (1959), pp. 32–54 Google Scholar; Eco, Umberto, ‘Apertura e “informazione” nella struttura musicale: Uno strumento d’indagine’, Incontri musicali, 4 (1960), pp. 57–88 Google Scholar; Osmond-Smith, Berio, 13; Berio, Two Interviews, p. 53.
58 Eco, The Open Work, pp. 141–42; Mussgnug, ‘Writing Like Music’, p. 82.
59 Croce, Benedetto, The Aesthetic as the Science of Expression and of the Linguistic in General, trans. by Lyas, Colin (Cambridge University Press, 1992), pp. 1, 8–9, 124, 132–34Google Scholar; Croce, Benedetto, Guide to Aesthetics, trans. by Romanell, Patrick (Hackett, 1965), pp. 3–27 Google Scholar; Caesar, Michael, Umberto Eco: Philosophy, Semiotics and the Work of Fiction (Polity Press, 1999), p. 9Google Scholar. For surveys of Croce’s aesthetics, see Orsini, Gian, Benedetto Croce: Philosopher and Art Critic (University of South Illinois Press, 1961)Google Scholar and Roberts, David, Benedetto Croce and the Uses of Historicism (University of California Press, 1987)Google Scholar, though the latter only discusses the aesthetics briefly as part of Croce’s overall system.
60 Eco, The Open Work, pp. 12, 22–23; Mussgnug, ‘Writing Like Music’, p. 82.
61 Berio, Luciano, ‘Form’, in The Modern Composer and His World, ed. by Beckwith, John and Kasemets, Udo (University of Toronto Press, 1961), pp. 140–45Google Scholar.
62 Gordon, ‘Impegno and Modernity’, p. 208. For a succinct discussion of various positions taken on Adorno by the neoavanguardia, see Jansen, Monica, ‘ Neoavanguardia and Postmodernism: Oscillations between Innovation and Tradition from 1963 to 2003’, in Chirumbolo, Moroni, and Somigli, Neoavanguardia, pp. 38–73 (pp. 39, 45, 49)Google Scholar. In the same volume, see Lucia Re’s recognition of Adorno’s significance in ‘Language, Gender and Sexuality in the Neoavanguardia’, pp. 171–211 (p. 172).
63 Adorno, Theodor, ‘Vers une musique informelle’, in Quasi una fantasia (Verso, 2011), pp. 272–73Google Scholar.
64 Eco, The Open Work, pp. 139–42, 153, 154, 156.
65 Horkheimer, Max and Adorno, Theodor, The Dialectic of Enlightenment, ed. by Noerr, Gunzelin Schmid, trans. by Jephcott, Edmund (Stanford University Press, 2002), pp. 127–28Google Scholar.
66 Horkheimer and Adorno, The Dialectic of Enlightenment, p. 103.
67 Although this claim is maintained throughout Adorno’s critical legacy, a direct (and hyperbolic) statement of Adorno’s identification of the increasingly reifying effects of capitalism can be seen in Theodor Adorno, Minima Moralia, trans. by Edmund Jephcott (Verso, 2005), p. 47.
68 Horkheimer and Adorno, The Dialectic of Enlightenment, p. 128. For Adorno’s most noted elaboration on the penetration of art by exchange value, see Adorno, Theodor, ‘On the Fetish Character of New Music and the Regression of Listening’, in Essays on Music, ed. Leppert, Richard (University of California Press, 2002), pp. 288–317 Google Scholar.
69 Jameson, Fredric, The Cultural Turn: Selected Writings on the Postmodern (Verso, 2014), p. 82 Google Scholar.
70 Caesar, Umberto Eco, p. 19.
71 Codebò, , ‘Between Words and Things’, pp. 13–14Google Scholar; Eco, Open Work, p. 11.
72 Bohme-Kuby, Susanna, ‘Brecht in Italy: Aspects of Reception’, Modern Drama, 42.2 (1999), pp. 223–33 (p. 228)CrossRefGoogle Scholar; Brecht, Bertolt, Brecht on Theatre, ed. by Sibermann, Marc, Giles, Steve, and Kuhn, Tom, 3rd edn (Bloomsbury, 2014)Google Scholar.
73 Boyd-Bennett, Harriet, ‘Remaking Reality: Echoes, Noise and Modernist Realism in Luigi Nono’s Intolleranza 1960’, Cambridge Opera Journal, 24.2 (2012), pp. 177–200 (p. 194)CrossRefGoogle Scholar.
74 Codebò, ‘Between Words and Things’, pp. 18–19.
75 Montale, ‘Didone Inglese’.
76 ‘“Intolleranza 1960”, alla Fenice’, L’unità, 14 April 1961, p. 5.
77 See, for example, Theodor Adorno, ‘The Ageing of New Music’, in Essays on Music, ed. by Richard Leppert, trans. by Frederic Will and Robert Hullot-Kentor (University of California Press, 2002), pp. 181–202.
78 Mussgnug, ‘Writing Like Music’, pp. 89–90.
79 Berio, ‘Form’, pp. 143–44.
80 Manning, Peter, ‘The Significance of Techné in Understanding the Art and Practice of Electroacoustic Composition’, Organised Sound, 11.1 (2006), pp. 81–90 (p. 84)CrossRefGoogle Scholar; Osmond-Smith, Berio, p. 12; Berio, Two Interviews, p. 64.
81 Casadei, ‘Milan’s Studio di Fonologia’, p. 430
82 Manning, ‘The Significance of Techné’, p. 84.
83 Eco, Open Work, pp. 1–3.
84 Berio, Two Interviews, pp. 146–47; Donat, Misha, ‘Reviewed Works: Luciano Berio: Laborintus II by Luciano Berio, Christiane Legrand, Janette Baucomont, Claudine Meunier, Edoardo Sanguineti, Ensemble Musique Vivante, Berio; Luciano Berio: Epifanie; Folk Songs by Luciano Berio, Cathy Berberian, BBC Symphony Orchestra, The Juilliard Ensemble, Berio; Pierre Boulez: Domaines by Ensemble Musique Vivante, Diego Masson, Michel Portal, Pierre Boulez’, Tempo, 101 (1972), pp. 57–59 Google Scholar.
85 Howland, Patricia, ‘Formal Structures in Post-Tonal Music’, Music Theory Spectrum, 37.1 (2015), pp. 71–97 (p. 71)CrossRefGoogle Scholar.
86 Berio, Two Interviews, p. 147.
87 Ibid., pp. 146–47.
88 Bowen, Zack, ‘Joyce and the Epiphany Concept: A New Approach’, Journal of Modern Literature, 9.1 (1981), pp. 103–14Google Scholar. For one of the most sceptical interventions on the role of epiphanies in Joyce, see Scholes, Robert, ‘Joyce and the Epiphany: The Key to the Labyrinth?’, The Sewanee Review, 72.1 (1964), pp. 65–77 Google Scholar. More recently, Sangam MacDuff has made an extensive case for epiphanies as a core concept in Joyce’s literary production; see Panepiphanal World: James Joyce’s Epiphanies (University Press of Florida, 2020).
89 Ferrandino, Joseph, ‘Joyce and Phenomenology’, Telos, 2 (1968), pp. 84–92 (p. 91)CrossRefGoogle Scholar.
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94 Sartre, Jean Paul, Transcendence of the Ego (Routledge, 2004)CrossRefGoogle Scholar.
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100 For an analysis of Heidegger’s politics, see Rockmore, Tom, On Heidegger’s Nazism and Philosophy (University of California Press, 1992)Google Scholar and more recently Swazo, Norman K., Heidegger’s Entscheidung: ‘Decision’ between ‘Fate’ and ‘Destiny’ (Routledge, 2020)CrossRefGoogle Scholar.
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102 Enzo Paci, ‘Sul significato dello spirit in Husserl’, Aut Aut, 54 (1959), p. 348; Enzo Paci, ‘Vita e Ragione in Antonio Banfi’, Aut Aut, 43–44 (1958); Enzo Paci, ‘Fondazione fenomenologica dell’antropologia ed enciclopedia delle scienze’, Aut Aut, 96–97 (1966), p. 29; Paci, Diario fenomenologico, pp. 41–42, 11.
103 Paci, Diario fenomenologioco, pp. 36, 25.
104 Paci, ‘Fenomenologia della relazione e musica contemporanea’, pp. 5–7.
105 Casadei, ‘Milan’s Studio di Fonologia, pp. 405, 406, 408.