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Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll Ap Siôn (Oxford University Press, 2019) *
Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019) * Orit Hilewicz NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hilewicz.php KEYWORDS: Steve Reich, analysis, politics DOI: 10.30535/mto.27.1.0 Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory [1] This past September, a scandal erupted on social media when a 2018 book excerpt was posted that showed a few lines from an interview with British photographer and music writer Val Wilmer. Wilmer recounted her meeting with Steve Reich in the early 1970s: I was talking about a person who was playing with him—who happened to be an African-American who was a friend of mine. I can tell you this now because I feel I must . we were talking and I mentioned this man, and [Reich] said, “Oh yes, well of course, he’s one of the only Blacks you can talk to.” So I said, “Oh really?” He said, “Blacks are geing ridiculous in the States now.” And I thought, “This is a man who’s just done this piece called Drumming which everybody cites as a great thing. He’s gone and ripped off stuff he’s heard in Ghana—and he’s telling me that Blacks are ridiculous in the States now.” I rest my case. Wouldn’t you be politicized? (Wilmer 2018, 60) Following recent revelations of racist and misogynist statements by central musical figures and calls for music scholarship to come to terms with its underlying patriarchal and white racial frame, (1) the new edited volume on Reich suggests directions music scholarship could take in order to examine the political, economic, and cultural environments in which musical works are composed, performed, and received. -
Reconsidering the Nineteenth-Century Potpourri: Johann Nepomuk Hummel’S Op
Reconsidering the Nineteenth-Century Potpourri: Johann Nepomuk Hummel’s Op. 94 for Viola and Orchestra A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music 2018 by Fan Yang B. M., Hong Kong Academy for Performing Arts, 2008 M. M., Hong Kong Academy for Performing Arts, 2010 D. M. A. Candidacy, University of Cincinnati, 2013 Abstract The Potpourri for Viola and Orchestra, Op. 94 by Johann Nepomuk Hummel is available in a heavily abridged edition, entitled Fantasy, which causes confusions and problems. To clarify this misperception and help performers choose between the two versions, this document identifies the timeline and sources that exist for Hummel’s Op. 94 and compares the two versions of this work, focusing on material from the Potpourri missing in the Fantasy, to determine in what ways it contributes to the original work. In addition, by examining historical definitions and composed examples of the genre as well as philosophical ideas about the faithfulness to a work—namely, idea of the early nineteenth-century work concept, Werktreue—as well as counter arguments, this research aims to rationalize the choice to perform the Fantasy or Potpourri according to varied situations and purposes, or even to suggest adopting or adapting the Potpourri into a new version. Consequently, a final goal is to spur a reconsideration of the potpourri genre, and encourage performers and audiences alike to include it in their learning and programming. -
A Nonesuch Retrospective
STEVE REICH PHASES A N O nes U ch R etr O spective D isc One D isc T W O D isc T hree MUSIC FOR 18 MUSICIANS (1976) 67:42 DIFFERENT TRAINS (1988) 26:51 YOU ARE (VARIATIONS) (2004) 27:00 1. Pulses 5:26 1. America—Before the war 8:59 1. You are wherever your thoughts are 13:14 2. Section I 3:58 2. Europe—During the war 7:31 2. Shiviti Hashem L’negdi (I place the Eternal before me) 4:15 3. Section II 5:13 3. After the war 10:21 3. Explanations come to an end somewhere 5:24 4. Section IIIA 3:55 4. Ehmor m’aht, v’ahsay harbay (Say little and do much) 4:04 5. Section IIIB 3:46 Kronos Quartet 6. Section IV 6:37 David Harrington, violin Los Angeles Master Chorale 7. Section V 6:49 John Sherba, violin Grant Gershon, conductor 8. Section VI 4:54 Hank Dutt, viola Phoebe Alexander, Tania Batson, Claire Fedoruk, Rachelle Fox, 9. Section VII 4:19 Joan Jeanrenaud, cello Marie Hodgson, Emily Lin, sopranos 10. Section VIII 3:35 Sarona Farrell, Amy Fogerson, Alice Murray, Nancy Sulahian, 11. Section IX 5:24 TEHILLIM (1981) 30:29 Kim Switzer, Tracy Van Fleet, altos 12. Section X 1:51 4. Part I: Fast 11:45 Pablo Corá, Shawn Kirchner, Joseph Golightly, Sean McDermott, 13. Section XI 5:44 5. Part II: Fast 5:54 Fletcher Sheridan, Kevin St. Clair, tenors 14. Pulses 6:11 6. Part III: Slow 6:19 Geri Ratella, Sara Weisz, flutes 7. -
Chamber Music Concert
2009-2010 presents UNIVERSITY OF WASHINGTON WIND ENSEMBLE Timothy Salzman, conductor CHAMBER MUSIC CONCERT October 25, 2009 1:30 PM Brechemin Auditorium PROGRAM BRAIN RUBBISH (2006/7) ............................................................................... CHRISTIAN LINDBERG (b. 1958) Gary Brattin, conductor Eric Smedley* / Angela Zumbow* / Joseph Sullivan / Joshua Gailey / Leah Miyamoto, trumpet Kenji Ulmer* / Christopher Sibbers / Alison Farley, horn Masa Ohtake* / Sam Elliot / Man-Kit Iong / Zach Roberts, trombone Danny Helseth, euphonium Curtis Peacock* / Seth Tompkins, tuba *brass quintet soloists EIGHT LINES (1983) .................................................................................................... STEVE REICH (b. 1936) Vu Nguyen, conductor Chung-Lin Lee / Maggie Stapleton, flute & piccolo Jacob Bloom / Kirsten Cummings / Geoffrey Larson, clarinet & bass clarinet Akiko Iguchi / Mayumi Tayake, piano Katy Balatero / Elizabeth Knighton / Kouki Tanaka / Matthew Wu, violin T. J. Pierce / Andrew Schirmer, viola Karen Helseth / Erica Klein, cello SHARPENED STICK (2000) ........................................................................... BRETT WILLIAM DIETZ (b. 1972) Timothy Salzman, conductor Jennifer Wagner / Chris Lennard / Melanie Stambaugh / Lacey Brown / Chia-Hao Hsieh MOGGIN’ ALONG Fr’ forty years next Easter day, An’ then children Him and me in wind and weather Come till we have eight Have been a-gittin’ bent ‘n; gray As han’some babes as ever growed Moggin’ along together. To walk beside a mother’s knee, They helped me bear it all, y’ see. We’re not so very old, of course, It ain’t been nothin’ else But still, we ain’t so awful spry, But scrub an’ rub’ an’ bake, and stew As when we went to singin’-school The hull, hull time over stove or tub Afoot and ‘cross lots, him and I, No time to rest as men folk do. -
Clever Children: the Sons and Daughters of Experimental Music?
Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music. -
Steve Reich and Hebrew Cantillation Author(S): Antonella Puca Source: the Musical Quarterly, Vol
Steve Reich and Hebrew Cantillation Author(s): Antonella Puca Source: The Musical Quarterly, Vol. 81, No. 4 (Winter, 1997), pp. 537-555 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/742285 Accessed: 03-10-2018 20:46 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 Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly This content downloaded from 129.74.250.206 on Wed, 03 Oct 2018 20:46:38 UTC All use subject to https://about.jstor.org/terms The Twentieth Century Steve Reich and Hebrew Cantillation Antonella Puca Among the composers of the American avant-garde, Steve Reich is one of the most strongly aware of his cultural and ethnic roots. His interest in Hebrew cantillation dates from the mid-1970s and is accompanied by the rediscovery of his own Jewish background, by the study of the Hebrew language and of the Hebrew Bible, and by extended periods of residence in Israel. My paper considers the influence of Hebrew cantillation on Reich's compositional techniques and on his approach to the relation between words and music in his works from the 1980s and early 1990s. -
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. -
Section I - Overview
EDUCATOR GUIDE Story Theme: Masterworks Subject: Terry Riley Discipline: Music SECTION I - OVERVIEW ......................................................................................................................2 SECTION II – PROFILE & CONTEXT..................................................................................................3 ARTIST PROFILE CONTEXT: THE BIG PICTURE.............................................................................................................4 SECTION III – RESOURCES .................................................................................................................6 TEXTS & PERIODICALS AUDIO RECORDINGS WEB SITES VIDEOS SECTION IV – BAY AREA FIELD TRIPS..............................................................................................9 SECTION III – VOCABULARY.......................................................................................................... 10 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 12 Composer Terry Riley reflects on a long, successful career. Still image from SPARK story June 2005. SECTION I - OVERVIEW EPISODE THEME INSTRUCTIONAL STRATEGIES Masterworks Individual and group research Individual and group exercises SUBJECT Written research materials Terry Riley Group oral discussion, review and analysis GRADE RANGES K-12, Post-Secondary EQUIPMENT NEEDED TV & VCR with SPARK story “Masterworks,” about CURRICULUM CONNECTIONS Terry Riley and Kronos Quartet Music -
Library Orders - Music Composition/Electronic Music
LIBRARY ORDERS - MUSIC COMPOSITION/ELECTRONIC MUSIC COMPOSER PRIORITY TITLE FORMAT LABEL PRICE Babbitt, Milton A Three Compositions for Piano CD Bartok, Bela A Mikrokosmos; progressive piano pieces. CD Berbarian, Cathy A Stripsody : for solo voice CD Berg, Alban A Violin Concerto CD Berio, Luciano A Sequenza V, for trombone CD Berio, Luciano A Sequenza VII; per oboe solo CD Berio, Luciano A Sequenza XII : per bassoon solo CD Berio, Luciano A Sinfonia, for eight voices and orchestra CD Boulez, Pierre A Marteau sans maître : pour voix d'alto et 6 instruments CD Boulez, Pierre A Structures for two pianos : first book CD Boulez, Pierre A Structures for two pianos : second book CD Brown, Earle A December 1952 (1952) CD Cage, John A Music of Changes, vol. 1 CD Cage, John A Variations IV, for any number of players, any sounds or combinations of sounds produced CD by any means, with or without other activities Carter, Elliott A Sonata for flute, oboe, cello, and harpsichord (1952) CD Carter, Elliott A String quartet no. 4 CD Cowell, Henry A Piano music of Henry Cowell #1 CD Cowell, Henry A Piano music of Henry Cowell #2 CD Crumb, George A APPARITION CD Crumb, George A BLACK ANGELS CD Crumb, George A Haunted Landscape CD Crumb, George A NIGHT OF THE FOUR MOONS CD Davies, Peter Maxwell Davies A Eight songs for a mad king CD Davies, Peter Maxwell Davies A Four Instrumental motets CD Davies, Peter Maxwell Davies A Unbroken circle : for chamber ensemble CD Dick, Robert A Flying lessons : six contemporary concert etudes, vol. -
Notes on Grade 12 HL Poems
POETRY NOTES Grade 12 Noelin Naidoo, HOD: Alexandra High School INDEX: Introduction to poetry Tone words 1. The Garden of Love (p 159) p13-18 2. Felix Randal (p 112) p18-21 3. somewhere i never travelled,gladly beyond (p 25) p22-26 4. A Hard Frost(p 139) p26-29 5. Funeral Blues (p 122) p29-35 6. An African Thunderstorm (p 155) p36-40 7. Vultures (p 48) p40-44 8. An African Elegy (p 45) p 44-47 9. The Zulu Girl (p 56) p 47-52 10. Motho ke motho ka batho babang (p 56) p 52-54 11. First Day after the War (p 32) p 54-56 12. Remember (p 5) p 56-60 INTRODUCTION TO POETRY Terms you must be familiar with: Theme Intention Style Diction Tone Mood Form Rhythm Rhyme Imagery Symbolism Theme: It is the subject, central idea or underlying thought. It is sometimes also equated with the meaning or sense of piece of writing. Intention: The reason or motive the poet had for writing his poem. The poet may want: * to persuade * to defend, * to express hatred / scorn * to protest, * to praise, * to argue, * to express love, * to flatter, * to warn, * to criticise, * to evoke sympathy, * to enrage, * to mock, * to incite, etc. Style: It is the manner in which a poet or writer expresses himself, his distinctive traits or the individual manner in which he uses the language at his disposal. It includes many aspects but sometimes it helps to look at the period in which the poem or work was written to determine the poet’s style. -
Steve Reich. Resonances of an Origin Carmen Pardo Salgado
Steve Reich. Resonances of an origin Carmen Pardo Salgado An origin can be a beginning, a motive or a cause of what happens afterwards, but in geometry it is also the point of intersection of the axis. If we are to begin at the beginning, it has to be said that Steve Reich is considered one of the most influential musicians of the international music scene. Born in 1936 in New York, in the bosom of a European family of Jewish origin, he started studying piano as a boy, and then turned to study percussion. In 1957 he graduated with a B.A. in Philosophy at Cornell University, New York, though he was already set on becoming a musician by then. In 1964 he takes part in the premiere of In C, by Terry Riley, a piece set within the framework of the origins of minimalist repetitive music. This experience leads him to work with short melodic motifs and it strengthens his decision to establish a regular rhythm in music, at a moment when both the serial music of Karlheinz Stockhausen, Luciano Berio or Pierre Boulez, and the indecision in music practised by John Cage, were alien to this need. It’s Gonna Rain, his first work on tape, created a year later, represented his official joining the minimalist repetitive school of music, which also takes in musicians such as Philip Glass. In this piece, Reich uses a technique which he had discovered by accident: the progressive moving out of phase. The piece is based on a fragment from a sermon about the end of the world, given by a young street-preacher. -
STEVE REICH Compositions
STEVE REICH Compositions RUNNER (2016) 2 fl, 2 ob, 2 cl, 2vbs, 2 pro, 4 vin, 2 vla, 2vcl, 1 cb PULSE (2015) 2 fl, 2 Cl, Pno, Electric Bass, 4 vlns, 2 vla QUARTET (2013) 16' for 2 pianos and two percussion RADIO REWRITE (2013) 19' fl.cl-2vib-2pft-elec.bass.gtr-1.1.1.1.0 WTC 9/11 (2010) 15' for string quartet and pre-recorded tape MALLET QUARTET (2009) 15' for percussion quartet 2X5 (2009) 20' for five musicians and tape, or 10 live musicians DOUBLE SEXTET (2007) 22' for ensemble (or ensemble and pre-recorded tape) 2fl-2cl-2vln-2vcl-2vib-2pft or fl-cl-vln-vcl-vib-pft and pre-recorded tape Awarded the 1990 Pulitzer Prize in Music DANIEL VARIATIONS for large ensemble (2006) 30' Text: Book of Daniel; Daniel Pearl (E) 2cl-4pft-perc(6):BD/tam-t/4vib-*2vln.vla.vlc-4 voices(*SSTT) *max. 1 player/voice per part VARIATIONS FOR VIBES, PIANOS AND STRINGS (2005) 25’ dance piece for vibraphones, pianos and strings 2 pft-4vib-3 string quartets (or sm string section*) YOU ARE (VARIATIONS) for amplified ensemble and voices (2004) 27' text: Rabbi Nachman of Breslov (E), Psalms (Heb.), Wittgenstein (E) & Pirke Avot (Heb.) 2-2-3-0, no brass, 2 marimbas, 2 vibraphones, 4 pft., strings 3-3-3-3-1 voices S,S,S,A,T,T FOR STRINGS (WITH WINDS AND BRASS) for orchestra (1987/2004) 12' 4(IV=picc).4.4.4-4.4.3.1-2synth-strings(16.16.12.8.6) CELLO COUNTERPOINT (2003) 15' for amplified cello and multichannel tape DANCE PATTERNS (2002) 6' 2 xylophones, 2 vibraphones, 2 pianos THREE TALES (1997-2002) 60’ Documentary video opera in collaboration with video artist Beryl Korot Text: documentary material (English) Vocal forces: Lyric Soprano (2), Tenor (3) perc (4): 2vib / 2SD / 2pedal kick dr/susp.cym - 2 pft (I, II=samplers) - pre-recorded tape - strings (1.1.1.1.0) TRIPLE QUARTET (1999) 15' for string quartet and tape (or three quartets or small string section eg.