DOCSLIB.ORG

CLAPPING MACHINE MUSIC VARIATIONS: a Composition for Acoustic/Laptop Ensemble

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CLAPPING MACHINE MUSIC VARIATIONS: a Composition for Acoustic/Laptop Ensemble CLAPPING MACHINE MUSIC VARIATIONS: a composition for acoustic/laptop ensemble Daniel Trueman Princeton University Department of Music ABSTRACT (PLOrk). A curricular initiative, PLOrk is dominated by new members each year; while several students return year Clapping Machine Music Variations is a new work for after year, it is difficult to maintain a continuity of variable-sized chamber acoustic/laptop-ensemble, expertise and experience, or to benefit from repeated composed by the author for the new ensemble Sideband. performances of specific repertoire and see how that Musical and technical motivations for the piece are repertoire develops. This becomes a significant described. In particular, the design of the laptop-based compositional concern [3], and one of the aims of instruments and their relationships to the composition and Sideband is to push the envelope of what is possible with performance of the work are explored. This paper is half of laptop-based (or, more generally, computation-based) a Piece+Paper submission for ICMC. ensembles. Sideband members are professional-level performers, composers, and instrument builders—all with 1. INTRODUCTION AND MOTIVATIONS experience in PLOrk—and our aim is to maintain a stable membership so that our expertise can be refined and our repertoire can grow. At the core of Clapping Machine Music Variations is a After a detailed description of the various pair of laptop-based Drum Machinists. Surrounding this instruments used in CMMV, I will explore how these duo is an assortment of other instruments, some clearly instruments relate to the composition as a whole, its defined laptop-based instruments, others more variable and performance, and I will discuss future work for the traditional in type. CMMV takes specific inspiration from composition and the instruments themselves. works by Steve Reich, Györgi Ligeti and Björk. In particular, the drum-machine algorithm was initially designed to mimic certain rhythmic processes in the Ligeti 2. INSTRUMENTATION Études pour Piano, processes which also coincidentally generate the rhythmic pattern for Reich's Clapping Music All of the instruments, including the laptop-based (this should come as no surprise, as both composers were instruments, are intended to have an acoustic instrument- deeply influenced by traditional African rhythms [1][2]); like presence. As has been documented elsewhere [4][[5], this algorithm is then used to generate variations on the this is aspired to through the use of hemispherical speakers original Clapping Music pattern, variations that are placed locally with each (non-acoustic) performer. As with explored over the course of CMMV. PLOrk, the aim is to create a social context for making The somewhat open-form of CMMV results in music that is at once old fashioned and familiar, yet rife performances that range from about 10 to 25 minutes, with new possibilities [6]. Depending on the performance depending on the context and instrumentation. This space and acoustic instrumentation, any or all of these instrumentation always includes at least two additional instruments might require reinforcement, in which case the laptopists—the Silicon/Carbonists—and at least two laptop-based instruments are treated just like acoustic additional Any Instrumentalists (these may also be instruments and mic'ed accordingly. laptopists, but will likely include traditional acoustic instrumentalists). The role of these instrumentalists is to 2.1. the Drum Machinists variously articulate some of the contrapuntal writing that characterizes much of the piece and to bring to life the This instrument (written in ChucK [7]) was originally built rhythmic patterns that define the variations. One particular for a laptop-percussion quartet—neither Anvil nor kind of laptop-based instrument—the tether-controlled Pulley—commissioned by So Percussion. The drum uBlotar—is also often used in this piece. machine algorithm is quite simple but yields remarkably CMMV is the first piece composed for a new complex, non-random results, in large part because it ensemble—Sideband—established to extend beyond some features feedback. In short: of the limitations of the Princeton Laptop Orchestra 1. drum samples are fed (triggered by performer) into is synchronized with the beginning of the pattern, achieved a delay line, which feeds its output back into by striking the sync and triangle drum pads itself, multiplied by a coefficient. simultaneously; different timing relationships between the 2. the length DL of the delay-line is always some audio input and the delay pattern will generate less clear integer multiple of a given fundamental pulse patterns, but usually patterns that bear some similarity to length FP, so DL = ni * FP. this one. It is possible, though tedious, to trace through the 3. after time DL passes, the delay length gets reset to changes in delays and see how this pattern emerges; for some different multiple of the fundamental pulse, instance, at the first moment the delay changes, to 3 * FP, DL = ni+1 * FP. the delay line is suddenly shortened, so it spits out the last 4. step (3) iterates indefinitely. 75% of the original triangle strike, as indicated by the boxed in waveform segments (note that the boxed in Obviously, there are any number of ways that the multiples waveforms don't look identical, because they are summed might be chosen. At the moment, the multiples move with the tail of the original triangle strike, and the delayed between performer-set minimum and maximum values, sound is also attenuated, since the feedback coefficient is sometimes ascending (so, n=2, 3, 4, 2, 3, 4..., given 2 as a slightly less than 1). minimum and 4 as a maximum), descending (n = 4, 3, 2, 4, 3, 2...), or mirrored (4, 3, 2, 3, 4, 3, 2, 3...). The performer can also choose to have it move through adjacent primes (7, 5, 3, 2, 3...), adjacent Fibonacci numbers, or any precomposed sequence. So, parameters the performer might control include: • fundamental pulse length • maximum multiplier (nmax) • minimum multiplier (nmin) • counting method (integers, primes, etc....) • mirroring (on/off) • feedback coefficient Figure 1: Drum Machine output, with ||:4:3:2:3:|| delay • smooth time length multipliers, after an initial triangle strike. The numbers above the waveform indicate the delay lengths, as The smooth time defines how quickly the delay length multiples of the fundamental pulse length, at that moment. should be changed, and can yield interesting, pitched Underneath, the emergent Reich Clapping Music pattern is effects, depending on its value. notated, which repeats indefinitely while fading slowly In addition to the array of drum samples that the (due to the feedback coefficient being < 1). performer can trigger, two of the drum pads are used to reset the delay-line time and set the counting point to either In the particular configuration of the drum machine the minimum or maximum value. These "sync" buttons are for CMMV, there are six percussion pads (kick, snare, open crucial for control of the instrument and for syncing with triangle, closed triangle, open hihat, closed hihat) and a other performers. parallel delay-line (with timing and length controlled in The behavior of this algorithm is often not tandem with percussion delay-line, but with separate gain intuitively predictable, but is highly consistent and and smoothing controls) for bowed and struck vibraphone performable. The original motivation for building the samples performed from a MIDI keyboard controller. This instrument was to explore rhythmic and metric patterns particular combination of sound samples with the drum apparent in some of the Ligeti Études pour Piano, in machine architecture creates a sound world that is in some particular #10 from book two—“Der Zauberlehring”— ways reminiscent of Björk’s album Vespertine, sonically which at one point features a rapidly expanding and one of the inspirations for CMMV. contracting set of beat lengths, ||:4:3:2:3:||. This is equivalent to setting the max/min values to 4 and 2, 2.2. the Silicon/Carbonists turning mirroring on, and counting by integers. See Figure 1 for an image of the waveform for this setting, when fed The Silicon/Carbon instrument (also written in ChucK) by a triangle sample. was originally built for a piece—Silicon/Carbon: an anti- The initial accent is followed by delayed Concerto Grosso—commissioned by the American subsegments of the original triangle strike, and a simple Composers Orchestra for orchestra and laptop ripieno. A rhythmic pattern emerges: as the music notation indicates, sample granulizer, Silicon/Carbon gives the performer the rhythmic pattern for Reich's Clapping Music. The control over a number of parameters for manipulating clarity and stability is in part because the initial triangle hit traditional orchestral instrument samples. It provides a simple two-dimensional timbre space which enables the use, see Ted Coffey’s work [10]) mapped to the player to mix grains from four timbrally contrasting Silicon/Carbon parameters through use of the Wekinator instrument groups while also manipulating a number of [11]. The Spacenavigator provides six semi-independent basic granular parameters. It is at its core a rhythmic control features with one hand. The Wekinator allows for instrument; when triggered, it generates a cluster of grains rapid, playful generation of mappings via machine learning according to the performer-controlled parameters. The and neural networks. Rather than manually combining and parameters the player
Load more

Recommended publications
  • The Percussion Family 1 Table of Contents
    THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine).
    [Show full text]
  • Aaamc Issue 9 Chrono
    of renowned rhythm and blues artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American music and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...........................1 “The legacy of Ray In the Vault Charles is a reminder • Donations .............................1 of the importance of documenting and • Featured Collections: preserving the Nelson George .................2 achievements of Phyl Garland ....................2 creative artists and making this Arizona Dranes.................5 information available to students, Events researchers, Tribute.................................3 performers, and the • Ray Charles general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ......................4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, Michigan that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W.
    [Show full text]
  • Making Your Classroom Go
    teaching OCTOBER 2015 VOLUME 23, NUMBER 2 A SMALL Makingmusicmusic Your BUT Classroom Go MIGHTY Music How to Program engage your students with the music “POP” of today TEACHING SINGERS to Sight-Read The Elementary and Secondary EDUCATION ACT QuaverFindOutAd_NAfME_Aug15.pdf 1 7/30/15 12:26 PM Find out what these districts already know... Quaver is revolutionizing music education! TM C M Y CM MY CY CMY K Packed with nearly 1,000 Songs! Try 36 Lessons from our K-8 Curriculum! Just go to QuaverMusic.com/Preview and begin your FREE 30-day trial today! ©2015 QuaverMusic.com, LLC October 2015 Volume 23, Number 2 contentsMUSIC EDUCATION ● ORCHESTRATING SUCCESS Music students learn cooperation, discipline, and teamwork. 28 Teachers and students alike can rock out and learn with pop music! FEATURES 24 TEACHING SINGERS 28 POP AND ROCK GOES 32 EL SISTEMA TODAY 38 SMALL SCHOOL, TO READ THE PROGRAM! José Antonio Abreu’s BIG EFFORT, Instructing students in Pop music connects creation has taken GREAT SUCCESS the art and techniques instantly with many root in the U.S. and Alexandria Hanessian’s of sight-singing can reap students. How can continues to grow small but mighty middle many rewards in your music educators use through programs such school program thrives choral rehearsals and it in their classrooms as the Corona Youth in Spencertown, beyond. to increase student Music Project and New York. engagement? Juneau Alaska Music Matters. Photo by Little Kids Rock. Photo by nafme.org 1 October 2015 Volume 23, Number 2 Student composers contents (far left and right) work with teachers Conductor Marin Alsop 56 at Williamsville East works with students in High School.
    [Show full text]
  • The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
    Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law.
    [Show full text]
  • Malay Gamelan: Approaches of Music Learning Through Community Music
    International Journal of Academic Research in Business and Social Sciences 2017, Vol. 7, No. 11 ISSN: 2222-6990 Malay Gamelan: Approaches of music learning through Community Music Wong Huey Yi @ Colleen Wong Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. Christine Augustine Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. DOI: 10.6007/IJARBSS/v7-i11/3562 URL: http://dx.doi.org/10.6007/IJARBSS/v7-i11/3562 Abstract This paper looked into the role of Rhythm in Bronze (RiB), a local music group in Malaysia, in community music work practices that uses Malay gamelan as the medium. The research delved into the different aspects of the approaches used to enhance music learning through community music; particularly the activities used and how they relate to Vygotsky’s theory of socialization in learning. Community music gathers people from different backgrounds. Experiences and knowledge shared helps the community through the development in terms of personal growth, self- esteem and self-confidence. These terms are just some of the aspects that community music promotes, apart from music making. Along the process of community music, creativity and expression are important in music making, as this will further develop creative thinking skills among musicians. Qualitative approaches such as observation, interview, and group’s past work were used in this research to gather information and data on how music has been taught to children through community music. Social interaction has certainly shown a big role in developing children thinking and perceptions through the activities implemented.
    [Show full text]
  • Form in the Music of John Adams
    Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First I
    An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First International Conference on Music and Minimalism University of Wales, Bangor Friday, August 31, 2007 Minimalism is perhaps one of the most misunderstood musical movements of the latter half of the twentieth century. Even among musicians, there is considerable disagreement as to the meaning of the term “minimalism” and which pieces should be categorized under this broad heading.1 Furthermore, minimalism is often referenced using negative terminology such as “trance music” or “stuck-needle music.” Yet, its impact cannot be overstated, influencing both composers of art and rock music. Within the original group of minimalists, consisting of La Monte Young, Terry Riley, Steve Reich, and Philip Glass2, the latter two have received considerable attention and many of their works are widely known, even to non-musicians. However, Terry Riley is one of the most innovative members of this auspicious group, and yet, he has not always received the appropriate recognition that he deserves. Most musicians familiar with twentieth century music realize that he is the composer of In C, a work widely considered to be the piece that actually launched the minimalist movement. But is it really his first minimalist work? Two pieces that Riley wrote early in his career as a graduate student at Berkeley warrant closer attention. Riley composed his String Quartet in 1960 and the String Trio the following year. These two works are virtually unknown today, but they exhibit some interesting minimalist tendencies and indeed foreshadow some of Riley’s later developments.
    [Show full text]
  • The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES ....................................................................................................................
    [Show full text]
  • Rhythm Practice Ideas
    Practice, Practice, Practice... by Deborah Smith As Kodály teachers we know that out of the three P’s (Preparation, Present and Practice) Practice is the aspect that goes on the longest and for which we need the most ideas, activities and resources. We also know how little “spare” time music teachers have in these busy times to prepare these ideas. Practice is absolutely ESSENTIAL for learning to occur and we must not underestimate the amount of practice required for a student to fully understand the concepts being taught. So, here is the (almost – see note at end) definitive list of practice activities (aimed at older beginners but easily simplified in most cases) beginning with a list of practice activities for rhythm. (With thanks to all the amazing teachers I have been taught by, learnt from, heard and seen speak over the years!) Practice Activities Part One – Rhythm (in alphabetical order) Beat and rhythm. Sing known songs with the words or rhythm names, while first clapping the beat and saying the rhythm names then tapping the beat on one leg and the rhythm on the other or on head and lap etc. (An extension activity could be to swap legs on a signal from the teacher). Students can also walk the beat and clap or say the rhythm names and then clap the beat while walking the rhythmic pattern. Beat to rhythm. Students sing a song with the words or rhythm names, clapping the beat. When the teacher gives an agreed signal (e.g. striking a drum, holding a sign with the word rhythm on it etc.) the students change to clapping the rhythm and so on.
    [Show full text]
  • Minimalism Post-Modernism Is a Term That Refers to Events After the So
    Post-Modernism - Minimalism Post-Modernism is a term that refers to events after the so-called Modern period. The term suggests that we are now using what we learned in the “modern” period, but mixing it with ideas from the more distant past. A major movement within Post-Modernism is Minimalism Minimalism mixes some Eastern philosophical principles involving chant and meditation with simple tonal materials. Basic definition of Minimalism: sustained or repetitive use of simple (often tonal) materials. The movement began with LaMonte Young (b.1935); he used simple textures and consonant materials; often called trance music. Terry Riley (b.1935) is credited with first minimalist work In C (1964). The piece has repeated high C’s on piano maintaining simple pulse. Score has 53 short motives to be played by a group any size; players play all 53 figures, repeating as many times and as frequently as desired. Performance ends when all players are done with all 53 figures. Because figures change in content, there is subtle but constantly shifting texture all the time. Steve Reich (b. 1936) prefers to call his music “Structural” not minimal. His music is influenced by his study of African drumming. Some of his early works use phasing, where a tape loop is set up: the tape records first sounds made by performer; then plays them back while performer continues to play. More layers are added, and gradually live sounds get ahead of play-back. Effect can be hypnotic: trance-like. Violin Phase (1967) is example. In Mid-70’s Reich expanded his viewpoint and his ensemble: Music for 18 Musicians is a little like In C, but there is much more variation in patterns.
    [Show full text]
  • “Classical” Minimalism
    from Richard Taruskin, “Oxford History of Western Music Volume V: Music in the Late Twentieth Century; Chapter 8: A Harmonious Avant-Garde?”. Retrieved 4/29/2011 from oxfordwesternmusic.com. “CLASSICAL” MINIMALISM For many listeners, the most characteristic and style-defining aspect of In C is the constant audible eighth-note pulse that underlies and coordinates all of the looping, and that seems, because it provides a constant pedal of Cs, to be fundamentally bound up with the work's concept. Like much modernist practice since at least Stravinsky, it puts the rhythmic spotlight on the “subtactile” level, accommodating and facilitating the free metamorphosis of the felt beat —for example, from quarters to dotted quarters at the twenty-second module of In C—and allows their multiple presence to be felt as levels within a complex texture. It may be surprising, therefore, to learn that the constant C-pulse was an afterthought, adopted in rehearsal for what seemed at the time a purely utilitarian purpose (simply to keep the group together in lieu of a conductor), and that it was not even Riley's idea. It was Reich's. Steve Reich came from a background very different from Young's and Riley's. Where they had a rural, working-class upbringing on the West Coast, Reich was born into a wealthy, professional- class family in cosmopolitan New York. Like most children of his economic class, Reich had traditional piano lessons and plenty of exposure to what in later years he mildly derided as the “bourgeois classics.” He had an elite education culminating in a Cornell baccalaureate with a major in philosophy.
    [Show full text]