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Steve Reich's 'Piano Phase' and David Cossin's 'Video Phase' : an Exploration of David Cossin's Video Phase with Reference to Steve Reich's Original Work Piano Phase

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Steve Reich's 'Piano Phase' and David Cossin's 'Video Phase' : an Exploration of David Cossin's Video Phase with Reference to Steve Reich's Original Work Piano Phase Edith Cowan University Research Online Theses : Honours Theses 2008 Steve Reich's 'Piano Phase' and David Cossin's 'Video Phase' : An exploration of David Cossin's Video Phase with reference to Steve Reich's original work Piano Phase Fiona Digney Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Performance Commons Recommended Citation Digney, F. (2008). Steve Reich's 'Piano Phase' and David Cossin's 'Video Phase' : An exploration of David Cossin's Video Phase with reference to Steve Reich's original work Piano Phase. https://ro.ecu.edu.au/ theses_hons/1314 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1314 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Steve Reich's 'Piano Phase' and David Cossin's 'Video Phase'. An exploration of David Cossin's Video Phase with reference to Steve Reich's original work Piano Phase. By Fiona Digney, Bachelor of Music (Performance), Bachelor of Music Honours (Performance). West Australian Academy of Performing Arts (WAAPA). Due: 3i 5t October 2008. The Use of Thesis statement is not included in this version of the thesis. 2 This paper will investigate Reich's 1967 composition Piano Phase, exploring the work's development from tape loops, the resultant patterns found in the work, the process involved, notation used, and also examples of phasing found in other works. Further, discussions will also take place with regards to both the author's, and David Cossin's adaptations of Piano Phase, including instrument choice and configuration, film and lighting requirements and rehearsal techniques. This project aims to present an adaptation of Piano Phase for solo percussion and multimedia, which provides an accurate visual representation of the process used in Piano Phase as well as taking into account Reich's compositional philosophies. Declaration I certify that this thesis does not, to the best of my knowledge and belief: (i) Incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education; (ii) Contain any material previously published or written by another person except where due reference is made in the text; or (iii) Contain any defamatory material. I also grant permission for the Library at Edith Cowan University to make duplicate copies of my thesis as required. Signed : ----,-------:-, Date: ---V-�'----"""'---'-"'------ 4 Acknowledgements Firstly, thanks must go to my film collaborator Nsubisi Mwambenja. Without your patience, enthusiasm and determination, this project would not have been possible. Thanks must also go to the head of Film and Television at Edith Cowan University, Keith Smith, for your support and enthusiasm from our first meeting. Thank you to my supervisor Dr Matt Styles for your time, energy, support, and encouragement. Tim White, head of percussion at WAAPA, for inspiring me to pursue this project, I cannot thank you enough. To my friends and family for their support and love. To Clive Digney for designing and fabricating the instrument stands, and Ruth Digney for inspiring me to work hard and to never give in. Finally to Chris Wakefield, without your support, encouragement, patience and endless positivity, this project would never have been completed. 5 Contents 1) Introduction .................................................................................................................... 8 2) Piano Phase .................................................................................................................... 12 a) Tape Loops ................................................................................................................. 12 b) Resultant Patterns... ................................................................................................ 14 c) Phasing Process........................................................................................................ 17 d) Notation ....................................................................................................................... 21 e) Other forms of Phasing.......................................................................................... 22 3) Video Phase .................................................................................................................... 23 a) Video Phase: David Cossin ....................................................................................23 i) Background............................................................................................. ............. 23 ii) Instrument Choice and Configuration...................................................... 25 iii) Film and Lighting....... ....................................................................................... 26 iv) Rehearsal Techniques..................................................................................... 27 b) Video Phase: Fiona Digney .................................................................................28 i) Background......... ................................................................................................ 28 ii) Instrument Choice and Configuration................................................. ..... 29 iii) Film and Lighting............................................................................................... 34 iv) Rehearsal Techniques ....................................................................................... 37 4) Conclusion ...................................................................................................................... 39 5) Appendices...................................................................................................................... 41 a) Interview Consent Forms .............................. , ............................................................41 b) David Cossin Interview............................................................................................. .44 c) Gary France Interview ................................................................................................ 46 d) Quick Reference Comparison Table......................................................................... 48 e) Accompanying DVD i) Video documentation of video trials 6 ii) Lecture Demonstration 6) Bibliography .................................................................................................................. 49 7 Definitions Minimalism "A term borrowed from the visual arts to describe a style of compositions characterized by an intentionally simplified rhythmic, melodic, and harmonic vocabulary."1 Minimalism in music began in the 1960s and 70s, with the most influential minimalist composers being Steve Reich, Terry Riley, and Philip Glass in America, and Henryk Gorecki, Arvo Part and John Tavener in Europe. Process Music Process music is a term that can either be interchanged with Minimalism or be used to describe a particular type or minimalist composition. Process music, in its more refined definition, refers to any minimalist composition where the basic materials are " ... extremely reduced ... [and are] developed through repetition and gradual modification."2 Tape Loop To make a tape loop, a section of magnetic tape is spliced together (it's two ends are taped together to form a circle of tape). The sonic effect is similar to when the needle becomes stuck on a LP record. Phasing "A term denoting the effect achieved when two [tape loops,] instrumentalists or singers perform the same musical pattern at different (slightly increasing or decreasing) intervals of time, moving in or out of phase."3 1 Grove Music Online http://O· www.oxfordmusiconline.com. Ii brary. ecu. ed u .au: 80/su bscriber/article/g rove/music/40603 ?q =minimalls m&search=quick&pos =1&_start=1#firsthit 2 Process Music and Minimalism http://www.d.umn.edu/Njrubin1/JHR%20Process%201.htm 3 Grove Music Online http://0- www.oxfordmusiconline.com. library. ecu .ed u. au: 80/subscriber/article/opr/ti 14/ e5139?q = phasing&sea re h=q u ick&pos = 2&_start= 1 #firsthit 8 Introduction Stephen Michael Reich, born in New York City on October 3rd 1936, has been described as " ... one of the greatest living composers ... "4, with his music being likened to" ... drugs without the mess."5 Steve Reich is an example of what the recording industry describes as a crossover phenomenon: his music addresses the tastes
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