World Library  
Flag as Inappropriate
Email this Article

Demetrio Stratos

Article Id: WHEBN0014688706
Reproduction Date:

Title: Demetrio Stratos  
Author: World Heritage Encyclopedia
Language: English
Subject: I Ribelli, John Cage, Area (band), Multi-instrumentalists, David Tudor
Publisher: World Heritage Encyclopedia

Demetrio Stratos

Demetrio Stratos
Birth name Efstratíos Dimitríou (Greek: Ευστράτιος Δημητρίου)
Also known as Demetrio Stratos
Born (1945-04-22)April 22, 1945
Alexandria, Egypt
Died June 13, 1979(1979-06-13) (aged 34)
New York, USA
Genres Progressive rock, art rock, experimental, jazz fusion, world
Occupation(s) Singer-songwriter, multi-instrumentalist, music researcher
Instruments Vocals
Steel drums
Years active 1963–1979
Labels Ricordi (1969–1970)
Numero Uno (1971)
Cramps (1972–1979)
Ascolto (1978)
Associated acts I Ribelli
Website link

Efstratios Dimitriou (Greek: Ευστράτιος Δημητρίου; April 22, 1945 – June 13, 1979) better known as Demetrio Stratos was a Greek-born Italian lyricist, multi-instrumentalist, music researcher, and co-founder, frontman and lead singer of the Italian progressive rock, jazz fusion band Area – International POPular Group.

Born and raised in Alexandria, Egypt, of Greek parents, he studied piano and accordion at the "National Conservatoire". In 1957 he was sent to Nicosia, Cyprus, and, at the age of 17, moved to Milan, Italy, to attend the Politecnico di Milano University at the Architecture Faculty, where he formed his first musical group. In 1967, Demetrio Stratos joined the Italian beat band I Ribelli, and in 1972, founded Area.

Stratos recorded many records, and toured festivals in Italy, France, Portugal, Switzerland, Netherlands, Cuba, U.S. with Area, as well as a solo artist and in collaboration with other artists. He worked together with musicians, singers, writers, poets, directors, men of learning such as Mogol, Lucio Battisti, Gianni Sassi, Gianni Emilio Simonetti, Juan Hidalgo, Walter Marchetti, John Cage, Tran Quang Hai, Merce Cunningham, Jasper Johns, Andy Warhol, Grete Sultan, Paul Zukofsky, Nanni Balestrini, Claude Royet-Journoud, and Antonio Porta.

He studied ethnomusicology, vocal extensions, Asian music chant, compared musicology, the problem of ethnic vocality, psychoanalysis, the relationship between spoken language and the psyche, the limits of the spoken language. He was able to reach 7,000 Hz, and to perform diplophony, triplophony, and also quadrophony. Daniel Charles has described him as the person who decimated monody by the demultiplication of the acoustic spectrum. His vocal abilities were explored and documented.

Stratos died in New York City Memorial Hospital on June 13, 1979 at the age of thirty–four. His mission was to free vocal expression from the slavery of language and pretty melodies. He considered the exploration of vocal potential as a tool of psychological and political liberation. His study of the voice used as a musical instrument carried him to reach for the limits of human capabilities. The amazing research of Stratos brings many suggestions of unexplored fields of research that are still to be studied.[1][2][3]


The early years 1945–1971

Demetrio Stratos was born as Efstratios Demetriou in Alexandria, Egypt on April 22, 1945, of [1][4] and studied English at the British Boys School. As he later said, the fact that he was born in Alexandria made him feel like a special and privileged "porter" in an international hotel, destined to live the experience of peoples' passages and to assist in the true "traffic" of culture in the Mediterranean area, so full of various ethnic groups and intense musical practices. His family was of Greek Orthodox religion, so during his infancy he listened to religious Byzantine songs, traditional Arabic music and then the early beginnings of rock and roll. All of those sounds strongly influenced him for the rest of his life.[4] In 1957, because of the political events that upset Egypt, he was sent to the Catholic College of the Holy Land in Nicosia, Cyprus where, two years later, his family joined him.[3][5]

In 1962, he and his family moved to [1][3][7]

In 1967, he joined the Italian [1][3]

In 1970, he left I Ribelli and formed a musical group with some English musicians including the drummer Jan Broad, and started to dedicate himself to his work on words”. This observation by Stratos was fundamental for his poetry. This language-voice connection and his experimentation with it was the hallmark of his entire artistic career.[9]

In 1971, he recorded the solo single "Daddy's dream" which was published by Numero Uno, a record company owned by [1][10]

Area 1972–1978

For more information about the Italian progressive rock band, please, see Area (band).

In 1972, Demetrio Stratos and [1][11] The original line-up included Eddie Busnello (saxophone), Patrick Djivas (bass), Leandro Gaetano (piano) and Johnny Lambizzi (lead guitar).[12] Soon after, Busnello and Djivas left the group, and Patrizio Fariselli and Paolo Tofani joined the group. Djivas joined Premiata Forneria Marconi (PFM), and he was replaced by Ares Tavolazzi. Stratos recorded many records with Area, as well as in collaboration with Gianni Sassi, the owner of Cramps Records, on solo artist albums.[3][13][14][15]

In 1973, Stratos took part in the eighth [1][3][16]

In 1974, Area toured festivals in [1][3][13][14][17]

In 1975, Stratos was involved with compared musicology and studied the problems of ethnic [1] Also in 1975, Area released their third studio album, Crac!.[3][18]

In 1976, Stratos released his first studio album as a solo artist, Metrodora, which was the result of his vocal studies and research.[19] Its title and the single lyric that was included were inspired by Metrodora, a Byzantine woman physician of the 6th century.[19] In Paris, Stratos contacted Emile Leipp, the director of the Laboratory of Acoustics at the Paris VI University (Faculty of Sciences).[19] Area released their fifth studio album, Maledetti (Maudits), and the band went on tour, giving exhibitions at some festivals in France and Portugal.[19] Together with Patrizio Fariselli (prepared piano), Paolo Tofani (guitar and synthesizer), Paul Lytton (percussion), and Steve Lacy (sax soprano), he performed a concert in the "Aula Magna" at the University of Milan. The live recording of that performance, Event '76, was published by Cramps Records in 1979.[3][19]

In this period, Stratos was involved in the study of psychoanalysis and was researching the relationship between spoken language and the psyche. Stratos spoke at several seminars at the Istituto di Glottologia e Fonetica[20] ("Institute of Glottology and Phonetics") at the University of Padua, in Italy, formulating his own and true "pedagogy of the voice". In Padua, he worked together with Ferrero and Lucio Croatto from the Centro Medico di Foniatria[21] ("Medical Centre of Phoniatrics"), on research related to language and vocal techniques. Stratos underlined the link between language and the psyche, and he highlighted the connection between them with the sounds made by his own vocal cords, which he considered to be a musical instrument.[13][14]

In 1977, his vocal abilities were explored and documented by Professor Franco Ferrero at the University of Padua,[13][14][22] a study that produced two scientific publications. He also found the time to do some live performances at the "Arsenale" Theater and at the Marconi's Gallery in Milan.[23] Albert Hera asked Tran Quang Hai in an interview, “What do you think about Demetrio Stratos?” Tran Quang Hai answered:

He learned from me in 1977, in France. He came to me with a manager who told me that the Master Demetrio Stratos wanted to learn my singer's techniques. He stayed with me for two hours and he learned everything. Then, he returned to Italy and used the exercises learned for its personal searches.
— Tran Quang Hai to Albert Hera (in Italian)[24]
Area live in Castelmassa (Rovigo), Italy, August 1978
In 1978, Area left Cramps Records and moved to Ascolto, a record label owned by [1][25] In this, Stratos produced an astonishing array of sounds and sound effects using only his voice.[26]

On June 2, Stratos was in [25] On 26, 27, and 28 June, Stratos participated at the Cage's show "Il Treno di John Cage – Alla ricerca del silenzio perduto" ("John Cage's Train – In search for (or Raiders of) the lost silence")", three musical rides on a prepared train, stuffed with microphones, monitors, 210 tape records, amplifiers and random sounds, all directed by Cage himself with the assistance of Walter Marchetti and Juan Hidalgo.[25][27][28] On July 4, he was on stage with Grete Sultan and Paul Zukofsky for a John Cage concert at the Margherita theatre in Genoa.[25]

From July 28 to August 5, Area participated at the [1][25] Upon returning from Cuba, Stratos recorded a sound poem, O Tzitziras o Mitziras, for the historical-critical anthology Futura, released by Cramps Records, in which he explored the onomatopoeic force of the song of the cicadas suggested by a Greek tongue-twister.[25] In September, he did a live performance at the Elfo theatre in Milan, which was featured in the “Settimana John Cage” ("John Cage Week") at the Opéra Louis Jouvet in Paris.[25] He was invited by John Cage to teach a course related to the possibilities of the human voice for the Center for Experimental Music at University of San Diego in California.[25]

Death and legacy 1979–present

In January 1979, Stratos recorded Le Milleuna, a one hour interpretation with lyrics written by Nanni Balestrini, with the mimic interpretation and action performed by Valeria Mallets.[29] In February, he was in Paris to perform the [1][29] At the Music Conservatory "G. Verdi" of Milan, he held a course of Semiotics of Contemporary Music on the voice.[29] The series of lessons continued until March. On Friday 30 March, Stratos held his last concert, performing solo, at the "Teatrino di Villa Reale" ("little" Theater of the Royal Villa) in Monza.[29]

In April, Demetrio Stratos was diagnosed with a severe case of [1][3][11][22][29]

His death cut short a collaboration with poet [1] At the time of his death, rumors circulated that his illness was caused by his secret and dangerous vocal practices. People wanted to believe that Demetrio Stratos had died due to daring too much and wandering outside the limits of human possibilities, as if he was a modern Icarus, punished for flying too close to the Sun.[22]

Stratos' memorial, inscribed with the beginning of the [1]

 to have haD
     the idEa
       his Music
    would nEver
       the Range
       of hIs
would have
   no limitS
         foR him
      to leArn was
        in Tibet
after that Out
into vocal Space
John Cage, Mesostic for Demetrio Stratos (1991)


In 2002, the progressive rock, jazz rock Italian band Picchio dal Pozzo discovered the tape recordings made in 1979 by the band with Stratos performing at the IPPAI Theatre (Institute for Youth's Protection and Assistance) in Genoa, Italy. Stratos' performances were featured on Picchio dal Pozzo's 2004 album, Pic_nic @ Valdapozzo, whose songs are built around Stratos' voice. The effect is particularly striking on the song "Epitaffio", in which Stratos creates a sweet melody with his "Flautofonie" technique, while a subtle beat, harmony and night sounds are provided very gently as not to shadow the voice.[32]

The “Demetrio Stratos” International Prize for experimental music, established in 2005 and promoted by his wife Daniela Ronconi Demetriou, Area's member Patrizio Fariselli, Claudio Chianura, Walter Prati and Gerd Rische, awards emerging musicians and new projects for music experimentation, and career achievements in experimental music. The award for the emerging artist best project has been assigned to Romina Daniele in 2005.[33] The Career Awards have been received by Diamanda Galás in 2005,[34][35] Meredith Monk in 2007,[36] Fred Frith in 2008,[37][38][39] Fátima Miranda in 2009,[40] and Joan La Barbara in 2011.[41][42]

La voce Stratos ("The Voice Stratos") is a book and a documentary on the life and career of Demetrio Stratos released in 2009 and directed by Luciano D'Onofrio and Monica Affatato, and with the collaboration of Stratos' wife Daniela Ronconi Demetriou. It includes over thirty interviews with Stratos' collaborators, musicians, artists and phonetics researchers, as well as photos, videos, and previously unseen footage.[43][44] The second edition of Suonare la voce: tributo a Demetrio Stratos ("Playing the Voice: Tribute to Demetrio Stratos") was held in Genoa in the same year. The two days of seminars and concerts culminated with a performance by Spanish artist Fátima Miranda.[45][46]

On 25 August 2009 in Siena, the remaining Area members, Patrizio Fariselli, Ares Tavolazzi, and Paolo Tofani together with Capiozzo's son, Christian on drums, and Mauro Pagani on vocals and violin reunited for the first time in over a decade during the ninth edition of the festival La Città Aromatica ("The Aromaric City"), dedicated to Demetrio Stratos thirty years after his death.[47] On 29 and 30 January 2010, there was another tribute to Stratos and another reunion of Area with UT Gandhi (Umberto Trombetta) on drums. They played at the San Lazzaro di Savena (Bologna) theatre as part of StratosFerico: Omaggio a Demetrio Stratos ("StratosPheric: Tribute to Demetrio Stratos").[48][49]

Demetrio Stratos’ life perfectly incarnates the spirit of the ’70s.[11] Recently, the Italian director Gabriele Salvatores announced his intention to produce a movie exploring music and politics in Italy during those years through the life of the charismatic singer.[22]

Phonetics research studies

Vocal gimmicks aside, Stratos’ mission was to free vocal expression from the slavery of language and pretty melodies. From the observation of his daughter Anastassia, he concluded that humans have enormous expressive potential that is progressively reduced to just a few socially appropriate functions during verbal development, such as language and harmonic singing. He considered the exploration of vocal potential as a tool of psychological and political liberation.[50] He, literally, wanted individuals and social groups to find their own voice.[22]

If a new vocality can exist, it must be lived by all, and not singularly: an attempt to get freed by the condition of listener and spectator to which the culture and politics have accustomed us. This work does not be assumed as a passively listening, but as “a game in which life is at risk”.
— Demetrio Stratos from Metrodora (in Italian)[51]

Besides the official Area discography, for which Stratos is remembered, it is important to remember his solo works, a massive set of productions full of experimentation and vocal research. His study of the voice used as a musical instrument carried him to reach for the limits of human capabilities. Stratos was able to reach 7,000 [1][3]

Looking at what I have found during the emission, the vocal folds did not vibrate. The frequency (for a human voice) was very high (vocal folds do not succeed to exceed the frequencies of 1,000–1,200 Hz). In spite of that Demetrio obtained not one, but two not harmonic hisses, one that descended from 6,000 Hz, and the other that climbed from 3,000 Hz. Therefore, it could not be supposed that one hiss was the next harmonic of the other. I observed also the emission of three hisses simultaneously
— Professor Franco Ferrero (in Italian)[30]

The amazing research of Stratos brings many suggestions of unexplored fields of research that are still to be studied such as the particularly stimulating and innovative pre-eminence of the meaning over the meant, and the ritual value of the voice.[30] His research into the field of phonetics (Articulatory phonetics, Acoustic phonetics, and Auditory phonetics), and experimental poetry[11] led to him freeing his voice of every naturalistic restraint, restoring its depth and dimension. The result of this can be heard in the two recordings of his compositions Metrodora and Cantare la Voce where what sounds like an instrument is in fact his voice.[13][14]

(human) Voice in today's music is a transmission channel that does not transmit anything. The western vocal hypertrophy has rendered almost insensitive the modern singer to the various aspects of the vocality, isolating him in the fencing of determined linguistic's structures
— Demetrio Stratos from Metrodora (in Italian)[30]

The pre-eminence of the signifier over the signified

The pre-eminence of the signifier over the signified is an issue of which linguistics and pragmatics are fond of, and has brought to the turning point in both semantics and semiotics. The value of language is not to be researched in the connections among the signs or in the relation between the signifier (signifiant) and the signified (signifié), but in the usage of the language in the context. For example, there is a metacommunicative meaning in a change in pitch, volume, timbre, or tone of the sound produced by the voice that can nullify the semantic value of a sentence (the words).

Stratos grasped the semantic increase produced by the voice. It is not only in function of the meanings but it is its own primal mode of body expression. The voice has a communicative meaning by itself which deserves to be listened to regardless of the meanings it may convey. The signifier “voice” becomes semiogenetic, that is producer of new signification when verifying it in its bare essence, in its “phoné”. The “magic” sound of voice is independent from meanings, so Stratos produces sounds without codified meanings, which yet create new possible worlds.

As the petrified Oread Echo, his research for this lost voice explores the human cry, the breath, the noise. It intends to go back to the corporeal reality, to the instinctive materiality, to the animal Dionysian base, suppressed by a codified objectiveness. The insistence on the “significant voice” takes value away from the subjective production of the signified. Stratos carries to a dissolving of “the I” by a creatively repetitive modulation in advantage of an intersubjective union of the sources of life.

The nomadic voice represents the liberation, it aspires to the body vocalization subtracted to the fixed inflections of the bel canto. In "Mirologhi I", "Mirologhi II" and "Criptomelodie Infantili"[53] the voice tends to be declined plurally, it whispers, it moans, it imitates, it becomes diplophonia and triplophonia. It is a polyphonic vocalism without a subject, androgynous, where both genders, masculine and feminine, coexist.

Stratos sings the voice, mere appearance, pharmakon, poisonous, and curative, without anything else except the voice, a pure ludic act, only voice as voice itself. “By this way the subversive sovereignty of the voice as an event, pharmakon communication challenge leaves the subject in an ingenuous anthropolatry somewhere between unconditioned enjoyment and consumption.”

The praise of the voice signifier supports an epistemology of the perception, it states “the error of Descartes” who reduced reason to conceptual word. It's in line with the “Praktognosia” (practical knowledge) of Maurice Merleau-Ponty, which sets the starting pointing the sensible perceptions of our bodies.[30]

The ritual value of the voice

Stratos refers to the aulos, the double-reeded flute used during the old rites in the ancient Greece; it produces two sounds and it is able to keep persons in a state of trance. In his "Flautofonie ed Altro", a track that it is featured on his 1978 album, Cantare la voce,[54] there are two not harmonic voices that cause to the listener a state of trance, similar to the trance during the religious rites, and a sense of estrange. So, the Stratos' voice-music is a sort of lay rite that produces to the listeners the ability to reach their primordial origin.

“The Stratos' flute-voice plays a circular theme, a modal inspiration that brings us filler to an experience of communion, ritual interaction and sacrifices. That repetition suggests something of hypnotic that should be propitious to the trance state. Stratos seems to wish a participated, spontaneous and also generous listening. Through these, always different, repetitions, he aimed to abolish, to dissolute, to dissolve the "ego", as the basic element for the sacrifice. In this dissolution of the identity we (the group of listeners) are in communion with gods (divinities), Earth and life.” — Janete El Haouli (translated from Spanish to Italian to English)

In the years of the desecration and secularization of the Christianity, Stratos proposed a new lay sacredness, in the name of the ancient Greeks, a return to the true rituality. The binomial voice-music had forgotten that rituality because in today's world it is only used to propose human's thoughts, ideas, and ideologies rather than the sacred experiences of the intimate communion between humans and the nature that surrounds us.

The search of the triplophonies and quadriphonies is used by Tibetan's monks and some knights of Mongolia. "It is a ritual use of the voice", wrote Stratos, and this purpose is maintained in his works. There are four ritual elements: the repetition, the escape from the ordinary, the loss of the ego, and the communitarian dimension. Perhaps, reading Gilles Deleuze, Stratos had been convinced that the repetition was not the ill-famed co-action to repeat the obsessive neurosis, but it should become a technique to escape from the ordinary, from the temporary flux, to access to another order of truth. Therefore, the trance with the abolition of the ego and the known world increased the horizon on other worlds. The result was a collective scene, an estranging and mystic performance at the same time.

In Stratos' works, we can find the standard-bearer of the lay rituals in the rock mega-concerts, where the audience is not exhausted by the spectacular of the mimetic model of the super star, but in the nearly to religious fruition of the voice-music that allows to feel us in the scene the ice cold shiver chilling of our belongings to life.[30]

Because of his great ability, his acquired techniques and his studies with the CNR, he was able to produce results that are still unattainable by others. Daniel Charles has described him as the person who decimated monody by the demultiplication of the acoustic spectrum. He achieved a diplophony which is triplophonic, even quadraphonic. His vocalization became micro orchestrations (voice instrument) without any technological amplification or manipulation.[13][14] He elevated rock singing to new heights with his vocal gymnastics.[3]


For recordings made with Area, please, see Area Discography.

Demetrio Stratos has released several studio albums and singles as a solo artist, and is featured on several albums recorded by other artists.[55]


Year Album Additional information
1968[56] I Ribelli Album by I Ribelli.
1972 Radius Album by Alberto Radius. Demetrio Stratos features on track A2. "To the Moon I'm Going" – 7:28.
1974 Nova Musicha N. 1 Album by John Cage. Demetrio Stratos features on track B3. "Demetrio Stratos – Sitxy–Two Mesostics Re Merce Cunningham (Frammenti)" – 9:00.

Originally released in vinyl LP format and published in Italy by Cramps, CRSLP 6101; re–released in 2007 in CD Sized Album Replica, Gatefold, Limited Edition format and published in Japan by Strange Days, POCE–1205.

1976 Metrodora Originally released in vinyl LP format and published in Italy by Cramps, CRSLP 6205; re-released in 2007 in CD Sized Album Replica, Limited Edition format and published in Japan by Strange Days, POCE-1197.

Track listing

Side one

  1. "Segmenti Uno" – 3:36
  2. "Segmenti Due" – 4:04
  3. "Segmenti Tre" – 4:01
  4. "Segmenti Quattro" – 4:31

Side two

  1. "Mirologhi 1 (Lamento d’Epiro)" – 4:23
  2. "Metrodora" – 8:55
  3. "Mirologhi 2 (Lamento d’Epiro)" – 4:10
1976 Cantata Rossa per Taal al Zaatar Album by Gaetano Liguori, Giulio Stocchi and Demetrio Stratos, featuring Concetta Busacca, Pasquale Liguori and Roberto Del Piano. Originally released in vinyl LP format.
1978 Futura: Poesia Sonora Antologia storico critica della poesia sonora ("Critical-historical anthology of sound poetry"). Sound poems, many of them performed by their authors. Edited by Arrigo Lora-Totino; introduction by Renato Barilli. Demetrio Stratos features on disc 7, track A2. "O Tzitziras o Mitziras" – 4:01

Originally released in vinyl LP format and published in Italy by Cramps, 5204-001; re–released in 1989 in CD format and published in Italy by Cramps, CRSCD 091-095.

1978 Cantare la voce Originally released in vinyl LP format and published in Italy by Cramps, 520.6119.

Track listing

Side one

  1. "Investigazioni (Diplofonie e Triplofonie)" – 14:41
  2. "Passaggi 1,2" – 5:16

Side two

  1. "Criptomelodie Infantili" – 6:23
  2. "Flautofonie ed Altro" – 6:17
  3. "Le Sirene" – 6:19
1978 Mauro Pagani Ascolto.
  • "L’albero di canto"
  • "L’albero di canto II"
1979 Le Milleuna Text written by Nanni Balestrini. Originally released in vinyl LP format and published in Italy by Cramps, 7243 8 57442 2 8; re-released in 1990 in CD format and published in Italy by Cramps, CRSCD 034; re-released in 2007 in CD Sized Album Replica, Limited Edition format and published in Japan by Strange Days, POCE-1170.

Track listing

  1. "Le Milleuna" – 63:13
1979 Carnascialia Polygram.
  1. "Canzone numero uno (c'è chi batte i denti, chi prende il ritmo e ci balla sopra)" (Pasquale Minieri, Piero Brega)
  2. "Fiocchi di neve e bruscolini" (Antonio Vivaldi, Demetrio Stratos)
  3. "Almeisan" (Minieri)
  4. "Kaitain (22 ottobre 1962)" (Vivaldi, Minieri, Stratos, Maurizio Giammarco)
  5. "Cruzeiro Do' Sul" (Giammarco)
  6. "Gamela" (Minieri, Brega)

Compilations and lives

Year Album Additional information
1979 Rock'n roll exhibition Live in 1978 with Paolo Tofani, Mauro Pagani, Walter Calloni, Stefano Cerri and Paolo Donnarumma. Cramps.

Track listing

Side one

  1. "Mean Woman Blues" – 4:27
  2. "Hound Dog" – 3:55
  3. "Blueberry Hill / I Can’t Stop Loving You" – 4:50
  4. "Long Tall Sally" – 3:35

Side two

  1. "Boom Boom" – 10:00
  2. "Barefootin’" – 5:32
  3. "25 Miles From Nowhere" – 11:30
1980 Recitarcantando Live album recorded in Cremona, Italy on September 21, 1978, with Demetrio Stratos on vocals and Lucio Fabbri on violin

Originally released in vinyl LP format and published in Italy by Cramps, 520.6501; re-released in 2007 in CD Sized Album Replica, Gatefold, Limited Edition format and published in Japan by Strange Days, POCE-1171.

Track listing

Side one

  1. "Flautofonie ed altro" – 4:45
  2. "Passaggi" – 2:05
  3. "Cometa Rossa" – 9:19
  4. "Le sirene" – 5:02

Side two

  1. "Flautofonie ed altro" – 8:10
  2. "Investigazioni (diplofonie triplofonie)" – 7:05
  3. "Mirologhi 1" – 5:30
  4. "Investigazioni" – 1:35
1995 Concerto all'Elfo Live performance (of Cantare la voce), originally released in CD format and published in Italy by Cramps, 300 037-2; re-released in 2007 in CD Sized Album Replica, Limited Edition format, and published in 2007 in Japan by Strange Days, POCE-1172.
1999 La Voce-Musica
2004 Stratosfera 5-CD box set containing all Stratos' solo recordings: Metrodora, Cantare la Voce, Recitaracantando (with Lucio Fabbri), Le Milleuna, and Concerto all'Elfo. Akarma R 624296[57]


Year Single Additional information
1966 "Come Adriano / Enchinza Bubu" Single by I Ribelli.
1966 "Per Una Lira / Ehi... Voi!" Single by I Ribelli. Two issues.
1967 "Chi Mi Aiuterà / Un Giorno Se Ne Va" Single by I Ribelli.
1967 "La Follia / Pugni Chiusi" Single by I Ribelli.
1969 "Goodbye / Josephine" Single by I Ribelli.
1969 "Obladì Obladà / Lei m'ama" Single by I Ribelli.
1969 "Oh Darling / Il vento non sa leggere" Single by I Ribelli.
1972 "Daddy's dream / Since you've been gone" 7" vinyl published in Italy by Numero Uno, ZN 50142.
1978 O Tzitziras o Mitziras Cramps Records.


Year Title Additional information
2006 Suonare la voce Originally released in VHS and DVD Video formats and published in the European Union by Cramps, 7243 4 91955 3 0

Track listing

  1. "Investigazioni (diplofonie e trifonie)"
  2. "Passaggi 1, 2"
  3. "Criptomelodie infantili"
  4. "Flautonie ed altro"
  5. "Le sirene"
  6. "Sixty two Mesostics Re Merce Cunningham"
  7. "Cometa rossa"
  8. "Luglio, agosto, settembre (nero)"
  9. "Mean Woman Blues"
  10. "Hound Dog"
  11. "Long Tall Sally"
  12. "Metrodora"
2009 La voce Stratos

See also


  1. ^ a b c d e f g h i j k l m n o p q r Contributori di WorldHeritage (2007-12-12). "Demetrio Stratos" (in Italian). WorldHeritage, L'enciclopedia libera. Archived from the original on 2007-11-24. Retrieved 2007-12-13. 
  2. ^ Daniela Ronconi; Demetriou Anastassia. "Demetrio Stratos" (in Italian). Retrieved 2007-12-20. 
  3. ^ a b c d e f g h i j k l m Borella, Mike; Sjef Oellers (2001-02-25). "Area: International POPular Group". Ratings. Gnosis. Retrieved 2009-05-21. Originally written in the Spring of 1995 and published in Expose #7, pp. 4-7; updated in February 2001 
  4. ^ a b c "1945" (in Italian). Retrieved 2009-05-21. 
  5. ^ "1957" (in Italian). Retrieved 2009-05-21. 
  6. ^ "1962" (in Italian). Retrieved 2009-05-21. 
  7. ^ a b c d "1963" (in Italian). Retrieved 2009-05-21. 
  8. ^ "1967" (in Italian). Retrieved 2009-05-21. 
  9. ^ a b "1970" (in Italian). Retrieved 2009-05-21. 
  10. ^ "1971" (in Italian). Retrieved 2009-05-21. 
  11. ^ "1972" (in Italian). Retrieved 2009-05-21. 
  12. ^ a b c d e f "DEMETRIO STRATOS discography, MP3, videos and reviews" (ASP). Prog Archives. Retrieved 2007-12-13. 
  13. ^ a b c d e f "UbuWeb Sound – Demetrio Stratos". UbuWeb. Retrieved 2007-12-13. 
  14. ^ a b "Biografia Area" (in Italian). Fariselli Project. Retrieved 2007-12-17. 
  15. ^ a b "1973" (in Italian). Retrieved 2009-05-21. 
  16. ^ a b c d "1974" (in Italian). Retrieved 2009-05-21. 
  17. ^ "1975" (in Italian). Retrieved 2009-05-21. 
  18. ^ a b c d e "1976" (in Italian). Retrieved 2009-05-21. 
  19. ^ "ISTC History" (SHTML). Institute of Cognitive Sciences and Technologies. Retrieved 2007-12-13. 
  20. ^ "Centro Medico di Foniatria" (in Italian). Centro Medico di Foniatria. Retrieved 2009-05-21. 
  21. ^ a b c d e Pavese, Antonella. "The life and times of Demetrio Stratos". Retrieved 2009-05-21.
    a) In 1977, his vocal abilities were explored and documented by Professor Franco Ferrero at the University of Padova.
    b) In April 1979, Demetrio Stratos had been diagnosed with a severe case of aplastic anemia. He was 34 years old. His condition deteriorated rapidly and he was transferred to New York City Memorial Hospital for treatment. Back in Italy, his friends organized a concert to pay for his medical expenses. Many musicians accepted the invitation to perform, and the concert was planned for June 14, 1979. It was to become Demetrio Stratos’ memorial concert: he died in New York City on June 13, 1979, while waiting for a bone marrow transplant.
    c) At the time of his death, rumors circulated that his illness was caused by his secret and dangerous vocal practices. People wanted to believe that Demetrio Stratos had died for daring too much and wandering outside the limits of human possibilities: a modern Icarus, punished for flying too close to the Sun.
    d) Demetrio Stratos’ life perfectly incarnates the spirit of the ’70s. Recently, film director Gabriele Salvatores' (Mediterraneo; I'm Not Scared) announced his intention to produce a movie exploring music and politics in Italy during those years through the life of the charismatic singer.
    e) Vocal gimmicks aside, Stratos’ mission was to free vocal expression from the slavery of language and pretty melodies. From the observation of his daughter Anastassia, he concluded that humans have enormous expressive potentials that are progressively reduced during verbal development to just a few socially appropriate functions such as language and harmonic singing. For Demetrio Stratos, the exploration of vocal potentials was a tool of psychological and political liberation: he literally wanted individuals and social groups to find their own voice.
  22. ^ "1977" (in Italian). Retrieved 2009-05-21. 
  23. ^ Tonini, Marco; Hera Albert (2007-01-13). "Tran Quang Hai « Tertium Auris" (in Italian). Retrieved 2007-12-14. Albert Hera: “Che cosa pensa di Demetrio Stratos?”
    Tran Quang Hai: “Aveva imparato da me nel 1977 in Francia. Venne da me con un impresario che mi disse che il maestro Demetrio Stratos voleva apprendere le mie tecniche di canto. Rimase con me per due ore e imparò tutto. Dopodichè, tornato in Italia, utilizzò gli esercizi appresi per le sue ricerche personali.”
  24. ^ a b c d e f g h i j k l m "1978" (in Italian). Retrieved 2009-05-21. 
  25. ^ Siegel, Marcia B.; Tileston Nathaniel (1991). "Cushioning the Minimalist Pew". The Tail of the Dragon: New Dance, 1976–1982. Durham, N.C.: Duke University. p. 53.  
  26. ^ "Il Treno di John Cage – Programma e personaggi" (ASP) (in Italian). Retrieved 2009-03-10. 
  27. ^ "Il Treno di John Cage – Project" (ASP) (in Italian). Retrieved 2009-03-10. 
  28. ^ a b c d e f g h i j "1979" (in Italian). Retrieved 2009-05-21. 
  29. ^ a b c d e f Stratos, Demetrio; Roberto Tagliaferri (December 2000). Scipione Castello 56, ed. La Voce Nomade (in Italian). Ludovico Calchi Novati. Milan, Italy: Edizioni D'ARS. Retrieved 2007-12-26.
    b) Il prof. Franco Ferrero, che frequentò Stratos nel Centro di Studio per le ricerche di Fonetica del CNR dell’Università di Padova, ammette: “Stando a quanto ho riscontrato durante l’emissione, le corde vocali non vibravano. La frequenza era molto elevata (le corde vocali non riescono a superare la frequenza di 1000-1200 Hz). Nonostante ciò Demetrio otteneva non uno, ma due fischi disarmonici, uno che da 6000 Hz scendeva di frequenza, e l’altro che da 3000 Hz saliva. Non si poteva supporre, quindi, che un fischio fosse l’armonico superiore dell’altro. Constatai anche l’emissione di tre fischi simultanei”.
    c, e) La strabiliante ricerca di Stratos porta molte suggestioni e piste di ricerca ancora da studiare. Vorrei limitarmi a due sottolineature particolarmente stimolanti ed innovative per il nostro tempo: la preminenza del significante rispetto al significato e il valore rituale della voce in ordine all’accesso alla scaturigine del corpo.
    d, f) “La voce, sostiene Stratos, è oggi nella musica un canale di trasmissione che non trasmette più nulla” e ancora: “L’ipertrofia vocale occidentale ha reso il cantante moderno pressoché insensibile ai diversi aspetti della vocalità, isolandolo nel recinto di determinate strutture linguistiche”.
  30. ^ "XIIª Rassegna di Musica Diversa "Omaggio a Demetrio Stratos" anno 2008" (in Italian, English). Retrieved 2007-12-13. This is a homage to the proporsi way and to work in the musical artistic field that was typical of Demetrio “outside from every constriction and in full creativity”. 
  31. ^ "Picchio dal Pozzo's Official Website". Retrieved 2009-02-12. 
  32. ^ "Premio internazionale "Demetrio Stratos" per la sperimentazione musicale" (PDF) (in Italian). 2006-11-26. Retrieved 2009-03-15. 
  33. ^ Paolo Ansali (2005-10-14). "Premio Demetrio Stratos alla carriera a Diamanda Galas" (PHP). Comunicati (in Italian). Retrieved 2009-03-15. 
  34. ^ "" (in Italian and English). Retrieved 2009-03-15. 
  35. ^ "COAST TO COAST MONK" (PDF).  
  36. ^ "Fred Frith Biography" (PHP). Mills Music Festival 2009.  
  38. ^ Andrew Gilbert (2008-12-12). "Every which way". Music.  
  39. ^ Irene Jiménez (2009-11-16). "Fátima Miranda galardonada con el Premio Internazionale Demetrio Stratos" [Fátima Miranda (was) awarded the Internazional Prize Demetrio Stratos]. Noticias (in Spanish).  
  40. ^ "Civica, "Voci senza confini" ricordando Demetrio Stratos" [Civic, "Voices without Borders" Remembering Demetrio Stratos] (in Italian).  
  41. ^ " [Extended Voices: "Demetrio Stratos" International Prize [2011 awarded] to Joan La Barbara]""EXTENDED VOICES: A JOAN LA BARBARA IL PREMIO INTERNAZIONALE "DEMETRIO STRATOS (in Italian). Galleria Civica di Modena. 2011. 
  42. ^ DVD Out Now"La Voce Stratos" (PHP). CD/DVD Releases. Retrieved 2010-06-13. 
  43. ^ "AAVV - LA VOCE STRATOS (DVD+book)" (PHP). Catalog » DVDs » A. Ma.Ra.Cash Records. 2010-03-24. Retrieved 2010-06-13. 
  44. ^ "Suonare la voce: Tributo a Demetrio Stratos" [Playing the voice: tribute to Demetrio Stratos] (PHP). Guida di Genova (in Italian). Comune di Genova. Genova Urban Lab. Retrieved 2010-06-13. 
  45. ^ Riccardo Storti (2009-10-19). "Suonare la voce: tributo a Demetrio Stratos al Teatro della Tosse" [Playing the voice tribute to Demetrio Stratos at the Theatre of Cough] (XHTML). C'era una volta il rock (in Italian). Retrieved 2010-06-13. 
  46. ^ Valentina Cervelli (15 August 2009). "Siena, dedicata a Demetrio Stratos degli area "La città aromatica 2009″" [The 2009 edition of "La città aromatica″ ("The Aromatic City") festival will be dedicated to the memory of Area's founding member Demetrio Stratos] (in Italian). Italia in Musica. Retrieved 2012-01-30. 
  47. ^ Claudio Costantino (2010-01-24). "Reunion degli Area per due concerti a San Lazzaro in memoria di Stratos" [Area reunion for two concerts in San Lazzaro in memory of Stratos] (XHTML). Rock-progressive: Pro(g)tagonisti Special (in Italian). Retrieved 2010-06-13. 
  48. ^ Paolo Ansali (2010-01-20). "StratosFerico: l'omaggio a Demetrio Stratos a San Lazzaro di Savena (BO) con reunion degli Area" [StratosPheric: a tribute to Demetrio Stratos in San Lazzaro (BO) with Area reunion] (PHP) (in Italian). Retrieved 2010-06-13. 
  49. ^ Tran Quang Hai. "TQH: Method of Learning Overtone Singing Khoomei" (PHP). Retrieved 2007-12-15. Demetrio Stratos (1945–1979) used the overtones to create the relationship between voice and subconscious. 
  50. ^ Stratos, Demetrio (1976). "Gianni Sassi, Musica, Demetrio Stratos". Metrodora (in Italian). Gianni Sassi. Retrieved 2007-12-16. Se una nuova vocalità può esistere dev’essere vissuta da tutti non da uno solo: un tentativo di liberarsi dalla condizione di ascoltatore e spettatore cui la cultura e la politica ci hanno abituato. Questo lavoro non va assunto come un ascolto da subire passivamente, ma come un “gioco in cui si rischia la vita” 
  51. ^ "Ceolin Elena, Tisato Graziano, Zattra Laura, Demetrio Stratos rethinks voice techniques: a historical investigation at ISTC in Padova". Proceeding of the SMC Conference 2011 (Sound and Music Computing), Padova 6–9 July 2011, pp. 48-55. Retrieved 2012-08-20. 
  52. ^ """Demetrio Stratos - "Criptomelodie Infantili. YouTube. Retrieved 2009-05-20. 
  53. ^ """Demetrio Stratos - "Flautofonie. YouTube. Retrieved 2009-05-20. 
  54. ^ "Albums by Demetrio Stratos – Rate Your Music". Retrieved 2007-12-14. 
  55. ^ "I Ribelli" (in Italiano). Discografia Nazionale della canzone italiana. Retrieved 25 June 2014. 
  56. ^ Thom Jurek. "Stratosfera – Overview". Retrieved 2009-03-15. 

Further reading

External links

  • Official website
  • "Demetrio Stratos". Retrieved 2007-12-14. 
  • "Demetrio Stratos – Music at". Retrieved 2007-12-15. 
  • Guidone, Davide (April 2003). "PROGRESSIVEWORLD.NET: REVIEWS BY DAVIDE GUIDONE – Demetrio Stratos – Cantare La Voce". Retrieved 2007-12-14. Cantare La Voce can be translated into English more or less this way: Sing the voice. It means the voice could be an instrument like the others. 
  • "Demetrio" (in Italian). Archived from the original on 2007-10-17. Retrieved 2007-12-14. 
  • "Demetrio Stratos" (PHP). Archivio • Artisti • Experimental (in Italian). VoiceArt. 2007-05-28. Retrieved 2007-12-20. 
  • Sessa, Alessandro (2005-04-25). "Demetrio Stratos – Musicisti anni 70" (PHP). PRIMA PAGINA (in Italian). PAGINE 70. Retrieved 2007-12-20. 
  • "Demetrio Stratos Tribute" (in Italian). Retrieved 2007-12-14. 
  • Ferrari, Luca (2000-03-25). "LUCAFERRARI.NET – "Mio marito, una voce senza eredi". Intervista a Daniela Ronconi, moglie di Demetrio Stratos." (PHP). articoli (in Italian). Mondo Padano. Retrieved 2007-12-20. 
  • oliver (2006-08-29). "XPTimes – La Voce – Demetrio Stratos" (ASP) (in Italian). The XPray Experience. Archived from the original on 2008-01-20. Retrieved 2007-12-20. 
This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.

Copyright © World Library Foundation. All rights reserved. eBooks from Project Gutenberg are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.