Metrical Issues in John Adams's <I>Short Ride in a Fast Machine</I>
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Guitar Electronics Input/Output Structures Modify: Fender Amp Mxr Phase 100 More Gr- 500 the Ultimate Keyboard
J u ly -Aug. 1981 PQLUPHONU $2 .5 0 ELECTRONIC MUSIC & HOME RECORDING ISSN: 0163-4534 GUITAR ELECTRONICS INPUT/OUTPUT STRUCTURES MODIFY: FENDER AMP MXR PHASE 100 MORE GR- 500 THE ULTIMATE KEYBOARD The Prophet-10 is the most complete keyboard instrument available today. The Prophet is a true polyphonic programmable synthesizer with 10 complete voices and 2 manuals. Each 5 voice keyboard has its own programmer allowing two completely different sounds to be played simultaneously. All ten voices can also be played from one keyboard program. Each voice has 2 voltage controlled oscillators, a mixer, a four pole low pass filter, two ADSR envelope generators, a final VCA and independent modula tion capabilities. The Prophet-10’s total capabilities are too The Prophet-10 has an optional polyphonic numerous to mention here, but some of the sequencer that can be installed when the Prophet features include: is ordered, or at a later date in the field. It fits * Assignable voice modes (normal, single, completely within the main unit and operates on double, alternate) the lower manual. Various features of the * Stereo and mono balanced and unbalanced sequencer are: outputs * Simplicity; just play normally & record ex * Pitch bend and modulation wheels actly what you play. * Polyphonic modulation section * 2500 note capability, and 6 memory banks. * Voice defeat system * Built-in micro-cassette deck for both se * Two assignable & programmable control quence and program storage. voltage pedals which can act on each man * Extensive editing & overdubbing facilities. ual independently * Exact timing can be programmed, and an * Three-band programmable equalization external clock can be used. -
A Critical Evaluation of the Nature of Music Education in the Public Schools of British Columbia
A CRITICAL EVALUATION OF THE NATURE OF MUSIC EDUCATION IN THE PUBLIC SCHOOLS OF BRITISH COLUMBIA David James Phyall Associate in Arts and Science (Music), Capilano College, 1982 B.A., SIMON FRASER UNIVERSITY, 1989 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Faculty of Education @ David James Phyall 1993 SIMON FRASER UNIVERSITY March 1993 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: David James P hyall Degree: Master of Arts Title of Project: A Critical Evaluation of the Nature of Music Education in the Public Schools of British Columbia Examining Committee: Chair: Anne Corbishley Robert Walker Senior Supervisor Owen Underhill Associate Professor School for the Contemporary Arts - Allan ~lin&an Professor Music Department, UBC Allan MacKinnon Assistant Professor Faculty of Education Simon Fraser University External Examiner Date Approved: 2 b7 3/73 Partial Copyright License I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. -
Structural Analysis and Segmentation of Music Signals
STRUCTURAL ANALYSIS AND SEGMENTATION OF MUSIC SIGNALS A DISSERTATION SUBMITTED TO THE DEPARTMENT OF TECHNOLOGY OF THE UNIVERSITAT POMPEU FABRA FOR THE PROGRAM IN COMPUTER SCIENCE AND DIGITAL COMMUNICATION IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF - DOCTOR PER LA UNIVERSITAT POMPEU FABRA Bee Suan Ong 2006 © Copyright by Bee Suan Ong 2006 All Rights Reserved ii Dipòsit legal: B.5219-2008 ISBN: 978-84-691-1756-9 DOCTORAL DISSERTATION DIRECTION Dr. Xavier Serra Department of Technology Universitat Pompeu Fabra, Barcelona This research was performed at theMusic Technology Group of the Universitat Pompeu Fabra in Barcelona, Spain. Primary support was provided by the EU projects FP6-507142 SIMAC http://www.semanticaudio.org. iii Abstract Automatic audio content analysis is a general research area in which algorithms are developed to allow computer systems to understand the content of digital audio signals for further exploitation. Automatic music structural analysis is a specific subset of audio content analysis with its main task to discover the structure of music by analyzing audio signals to facilitate better handling of the current explosively expanding amounts of audio data available in digital collections. In this dissertation, we focus our investigation on four areas that are part of audio-based music structural analysis. First, we propose a unique framework and method for temporal audio segmentation at the semantic level. The system aims to detect structural changes in music to provide a way of separating the different “sections” of a piece according to their structural titles (i.e. intro, verse, chorus, bridge). We present a two-phase music segmentation system together with a combined set of low-level audio descriptors to be extracted from music audio signals. -
Terms from Kostka Twentieth Century Music
AnalysisofContemporaryMusic Terminology Dr. Mark Feezell The following list of terms is taken from Kostka’s Materials and Techniques of Twentieth-Century Music, 3rd ed. Most of the definitions are word-for-word from the same text. This is a VERY useful study guide for the text, but does not substitute for careful reading and examination of the examples in the text itself. Ch. Term Pg. Definition 1 chromatic mediant rela- 3 Triads with roots M3 or m3 apart, both major or both minor, one common tone tionship 1 doubly chromatic me- 3 Triads with roots M3 or m3 apart, one major, one minor; no common tones diant relationship 1 direct modulation 3 Modulation with no common chord between the two keys 1 tritone relationships 5 Movement of one harmony directly to a harmony whose root is a tritone away 1 real sequence 6 A sequence in which the pattern is transposed exactly 1 brief tonicizations 6 A quick succession of tonal centers, often associated with real sequences 1 enharmonicism 6 The enharmonic reinterpretation of certain (normally chromatic) harmonies so that they resolve in an unexpected way; ex: Ger+6 --> V7 1 suspended tonality 6 Passages that are tonally ambiguous 1 parallel voice leading 7 A type of progression in which at least some voices move in parallel motion 1 nonfunctional chord 8 A progression in which the chords do not “progress” in any of the ways found in succession diatonic tonal harmony 1 voice-leading chords 9 Chords that are the result of goal-directed motion in the various voices rather than traditional harmonic progression 1 unresolved dissonances 10 Dissonances which do not follow the dictates of functional harmony to resolve. -
Introduction to the DFT and Music for Pieces of Wood
Cyclic Rhythm and Rhythmic Qualities: Introduction to the DFT and an Application to Steve Reich’s Phase Music Jason Yust, Spring 2018 Much of Steve Reich’s music is based on repetition (often ad lib) of 1–2 measure rhythmic patterns. This is particularly true of his “phase” music from Piano Phase and Violin Phase in 1967 to Octet [Eight Lines] in 1979, and also much of the music of the 1980s, such as New York Counterpoint and Electric Counterpoint. The repetition of a consistent unit, one or two measures of 4/4 or 12/8, sometimes 10/8, with a basic pulse of and eighth-note or sixteenth, creates the framework of a rhythmic cycle. Rhythmic cycles invite an analogy with pitch classes, which are also cyclic. Hence, we can think of cyclic rhythms as “beat-class sets.” (This idea was first suggested by Milton Babbitt and built upon by Jeff Pressing, Richard Cohn, and John Roeder.1) Here, I will propose a method of analyzing cyclic rhythms using the DFT (discrete Fourier transform). This is, mathematically, the same method that is used for determining what frequencies are present in an audio signal. The differences when using this method to analyze beat-class sets are (1) Order of magnitude: the frequencies are much slower, so that they correspond to rhythmic periodicities rather than pitches, and (2) Simplifying assumptions: Rhythmic cycles include a relatively small number of eighth or sixteenth-notes (typically 6, 8, 10, 12, 16, or 24), and they are assumed to be perfectly periodic, meaning they could repeat indefinitely. -
Listening Subjects: Semiotics, Psychoanalysis, and the Music of John Adams and Steve Reich Author(S): David Schwarz Source: Perspectives of New Music, Vol
Listening Subjects: Semiotics, Psychoanalysis, and the Music of John Adams and Steve Reich Author(s): David Schwarz Source: Perspectives of New Music, Vol. 31, No. 2 (Summer, 1993), pp. 24-56 Published by: Perspectives of New Music Stable URL: https://www.jstor.org/stable/833367 Accessed: 03-10-2018 22:00 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music This content downloaded from 129.74.250.206 on Wed, 03 Oct 2018 22:00:41 UTC All use subject to https://about.jstor.org/terms LISTENING SUBJECTS: SEMIOTICS, PSYCHOANALYSIS, AND THE MUSIC OF JOHN ADAMS AND STEVE REICH 4^7fa DAVID SCHWARZ THEORETICAL POSITIONS THIS PAPER OUTLINES a theory of listening subjectivity for music.1 In general, I am interested in naming and exploring a middle ground between pieces of music as texts and psychic structures upon which their perception depends. Based on recent psychoanalytic criticism, I discuss listening subjectivity as a site for such a middle ground. More specifically, musical listening subjects are produced when moments in performed music allow access to psychological events that are presymbolic-that is, from that phase in our development before our mastery of language.2 Not that all music is supposed to be always presymbolic; but certain kinds of music articulate their conventionality in such a way that the listener can have access to vestiges of presymbolic conditions within conventional forms and procedures. -
7 Process Music and Minimalisms
PROCESS MUSIC Listen: Arthesis (1973) by Éliane Radigue 1 STILL FROM EINSTEIN ON THE BEACH STEVE REICH infuenced by both tape loops and Ghanian drumming 2009 Pulitzer Prize in Music 2 Music As a Gradual Process (1968) Once the process is initiated, it will continue on its own. The process defnes both the sound characteristics and structure of the piece. The process must be heard as it is happening. The process must be gradual enough to be perceived. The subject of the music is the process, rather than the sound source. Pendulum Music (1968) 3 STILL FROM EINSTEIN ON THE BEACH 4 Rhythm 5 STILL FROM EINSTEIN ON THE BEACH Phasing Poly-meter Poly-tempo 6 STILL FROM EINSTEIN ON THE BEACH Phasing Come Out (1966) is a process piece based on phasing - two identical tape loops running at slightly different speeds. Used a recording of a single spoken line by Daniel Hamm, one of the falsely accused Harlem Six. 7 Phase Music Reich used the phasing process in scores for acoustic instruments as well… Piano Phase (1967). 8 9 10 Music for Eighteen Musicians (1976) Reich expanded his sonic palette with four voices, cello, violin, two clarinets, six percussionists, and four pianos. Big Ensemble with no conductor uses music signaling methods adapted from Ghanian Drumming and Balinese Music Repetitive “tape loop” techniques translated for acoustic instruments 11 The Orb’s 1990 single “Little Fluffy Clouds” sampled Reich’s Electronic Counterpoint and an interview with musician Rickie Lee Jones. Excerpt from “Electric Counterpoint” 12 The Orb’s 1990 single “Little Fluffy Clouds” sampled Reich’s Electronic Counterpoint and an interview with musician Rickie Lee Jones. -
University of California
UNIVERSITY OF CALIFORNIA Los Angeles Music as a Gradual Lostness: A Performer’s Guide to the Phase Music of Steve Reich A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Kelly Lawrence Flickinger 2012 © Copyright by Kelly Lawrence Flickinger 2012 ABSTRACT OF THE DISSERTATION Music as a Gradual Lostness: A Performer’s Guide to the Phase Music of Steve Reich by Kelly Lawrence Flickinger Doctor of Musical Arts University of California, Los Angeles, 2012 Professor Gordon Henderson, Chair Steve Reich's phase pieces Drumming and Piano Phase continue to test performers. Challenges include developing a successful phase, determining audible and visual checkpoints, and defining the role of the steady player. In this dissertation, detailed rehearsal and performance techniques of Steve Reich and Musicians are described using information obtained through the author’s interview with Russell Hartenberger, an original member of the ensemble Steve Reich and Musicians. While the methods of Steve Reich and Musicians and the author overlap in many respects, one significant difference separates the two: the “Cognitive Pulse Alignment” (CPA), or mental alignment of the beat within the measure, of the performers. Unlike the “Displaced Pulse Method” (DPM) of Steve Reich and Musicians, where the performers perceive beat one in different locations than each other within the phase pieces, this ii paper introduces the "Unified Pulse Method" (UPM), an approach that unifies beat one among the players. A combination of UPM and other techniques results in a comprehensive guide to rehearsing and performing the phase pieces of Steve Reich, and an overall enhancement of the performer’s conception of musical time. -
Sound Mirrors: Brian Eno & Touchscreen Generative Music
Music on Screen: From Cinema Screens to Touchscreens Musicology Research Journal Title: SOUND MIRRORS: BRIAN ENO & TOUCHSCREEN GENERATIVE MUSIC Authors Dr Kingsley Marshall & Rupert Loydell Falmouth University Abstract: With the recent publication of the edited collection Brian Eno: Oblique Music (Albiez & Pattie, 2016) and the distribution of Brian Eno’s 26th solo studio album Reflection in 2017 on vinyl, CD and as an innovative software application, the time is ripe for a reconsideration of the way in which software has been used by the musician, composer, record producer and visual artist Brian Eno. This paper explores how Eno has used simple but innovative ideas and processes to inform his music over the course of his career, and consider how his work with collaborators – specifically the musician and software designer Peter Chilvers – has converged with the emergence of touchscreen technologies and modes of distribution. We will demonstrate how Apple’s App Store global distribution platform has further disseminated Eno’s ideas of ‘generative music’ to a wider audience through he and Chilvers’ Bloom (2008), Trope (2009/2015), Scape (2012) and Reflection (2017a) software applications for Apple’s iPhone and iPad, and the impact on the distribution and reception of Eno’s own music. Echoing Eno’s own processes of appropriation, remix and collaboration the authors wrote the paper through exchanges dictated by the turn of a card selected from the third edition of the Oblique Strategies deck, issued by Eno and Peter Schmidt in 1979. Article 1. ‘Change instrument roles’ (Eno & Schmidt, 1979) Much of Brian Eno’s career has orientated around the use of simple but innovative ideas and processes that have informed his work as a musician, composer, record producer and visual artist. -
Quasiperiodic Music
JOURNAL OF MATHEMATICS AND THE ARTS https://doi.org/10.1080/17513472.2020.1766339 Quasiperiodic music Darren C. Ong Department of Mathematics, Xiamen University Malaysia, Sepang, Malaysia ABSTRACT ARTICLE HISTORY Using the definition of quasiperiodic function as a motivation, we Received 17 July 2019 introduce the idea of quasiperiodic music and detail the composition Accepted 5 May 2020 Raindrops in A minor process of a quasiperiodic music piece, . We also KEYWORDS discuss connections between quasiperiodic music and other works Minimal music; of music theory and composition that make use of aperiodic order quasiperiodicity; aperiodic or periodic order with large periods, such as Lindenmayer systems, order; phasing; Lindenmayer Vuza canons, Messiaen’s Quatuor pour la Fin du Temps, and the phase systems music of Steve Reich. 1. Introduction In recent decades, there has been a surge of interest in aperiodic order. ‘Aperiodic order’ is a rather broad term that encompasses both discrete and continuous structures. These different structures are loosely grouped under one umbrella term because they CONTACT Darren C. Ong [email protected] Supplemental data for this article can be accessed here. https://doi.org/10.1080/17513472.2020.1766339 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/ by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. 2 D. C. ONG are aperiodic, at the same time, each of them is close to periodic in some mathemat- ically precise way (although the sense in which they are ‘close’ may differ). -
Steve Reich: Music As a Gradual Process: Part I Author(S): K
Steve Reich: Music as a Gradual Process: Part I Author(s): K. Robert Schwarz Source: Perspectives of New Music, Vol. 19, No. 1/2 (Autumn, 1980 - Summer, 1981), pp. 373- 392 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/832600 Accessed: 20/08/2009 22:55 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org STEVEREICH: MUSIC AS A GRADUALPROCESS PART I K. -
3 Live Electronic Music
P1: SFK/SFV P2: SFK 9780521868617c03.xml CUUK1005B-Collins July 24, 2007 14:52 3 Live electronic music nicolas collins It is perhaps a general human habit to view the technological and the organic as opposites. It is certainly the case that the phrase ‘live electronic music’ strikes many a music fan as oxymoronic. Isn’t the purpose of electronics to do things for us so we don’t have to do them ‘live’ ourselves? To record, per- fect and play back performances so we can listen while cycling stationarily? To facilitate the creation of inhumanely intricate compositions that spew themselves out of speakers at the touch of a button, instead of all that messy sliding about on strings? While there is no question that composers of tape music and computer music (and a fair number of pop music producers as well) have employed electronics to exactly these ends, electronic technology has another, and possibly more profound power: enabling new and volatile connections. Don’t think Edison, think Alexander Graham Bell. Since the 1930s (well before the advent of tape) composers have been using this prop- erty of electronics to produce not just new sounds but fundamentally new approaches to organising the sonic world. Pre-history Electronic music has its pre-history in the age of steam. In 1897 Thaddeus Cahill patented the Telharmonium, a machine that weighed in at over two hundred tons and resembled a power station more than a musical instru- ment. It generated sine tones with dynamos, played from an organ-like keyboard. Cahill understood that electricity could provide not only sound but a means of distribution as well: the Telharmonium’s sounds were car- ried over the telephone lines that were beginning to be laid in major cities, intended for playback through speaker systems in restaurants, hotel lobbies and homes of the rich.