Abstract
ALTHOUGH NONES HAS BEEN overshadowed by Berio's later and larger .works, the composer has called this seven-minute orchestral composition one of his most important, his exorcism, a crucial step toward thinking musically in terms of process and not of form or procedure.'' The historical significance of in Berio's opus has been mentioned in surveys of Berio's work and its serial organization has been discussed in two brief1958 articles.2 But the piece continues to demand attention to how, in structure and in process, it relates to its literary sources, to its musical environs, and to Berio's later compositions. W. H. Auden first published his 112-line poem Nones in the 1951 book of the same name. The poem reappeared in his 1955 collection The Shield of Achilles, where it served as the fourth in a cycle of Horae Canonicae-poems based on the canonical hours. Nones links the
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