ABSTRACT
Gerhard Stabler treats the screams in druber as primordial musical material. This approach might have been encouraged by the 'extension of the musical material' that could be observed in various strands of avant-garde music since the beginning of the century and ranged from the inclusion of everyday-life noises to visual elements. In light of Stabler's immersion in the 1968 Zeitgeist, his preference for screamers might be traced back to the strong emotions that accompanied the activities of the New Left. The score of druber not only instructs the active screamers to adopt regressive behaviour modes, but it also demands the scream of an infant to be played from tape for a few seconds during the performance. Pursuing the rediscovery of the body and revitalization of the materiality of the sign, must have sensed the interconnection between ontogenesis, naturalness, first nature and semiotic authenticity, and therefore focused on the infant's scream.
