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Steve Reich: Music As a Gradual Process Part II Author(S): K
Steve Reich: Music as a Gradual Process Part II Author(s): K. Robert Schwarz Source: Perspectives of New Music, Vol. 20, No. 1/2 (Autumn, 1981 - Summer, 1982), pp. 225-286 Published by: Perspectives of New Music Stable URL: https://www.jstor.org/stable/942414 Accessed: 03-10-2018 20:45 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 20:45:31 UTC All use subject to https://about.jstor.org/terms STEVE REICH: MUSIC AS A GRADUAL PROCESS PART II K. Robert Schwarz This content downloaded from 129.74.250.206 on Wed, 03 Oct 2018 20:45:31 UTC All use subject to https://about.jstor.org/terms In 1968, Steve Reich codified his compositional aesthetic in the single most important essay he has ever written, "Music as a Gradual Process." This article, which has been reprinted several times,38 must be examined in detail, as it is here that Reich clarifies all the trends that have been developing in his music since 1965, and sets the direction for the future. -
Julia Wolfe Magnus Lindberg Phill Niblock Frederic
FESTIVALIO KOMPOZITORIAI JULIA WOLFE COMPOSERS IN FOCUS: MAGNUS LINDBERG PHILL NIBLOCK FREDERIC RZEWSKI BERND ALOIS ZIMMERMANN Festivalyje skambės daugiau nei 100 skirtingų žanrų kūrinių, dauguma jų – premjeros Lietuvoje Festivalio programoje – 7 lietuvių kompozitorių kūriniai ir 8 pasaulinės premjeros Festivalio puošmena – pasaulinio garso solistai, ansambliai ir geriausių Lietuvos atlikėjų pajėgos The festival shall present over 100 pieces of different genres, most of them never before performed in Lithuania The programme of the festival includes 7 pieces by Lithuanian composers and 8 world-premieres World-famous soloists, ensembles and best Lithuanian performers will take part in the festival PB 1 PROGRAMA | TURINYS In Focus: Festivalio dėmesys taip pat: 6 JULIA WOLFE 18 FREDERIC RZEWSKI 10 MAGNUS LINDBERG 22 BERND ALOIS ZIMMERMANN 14 PHILL NIBLOCK 24 Spalio 20 d., šeštadienis, 20 val. 50 Spalio 26 d., penktadienis, 19 val. Vilniaus kongresų rūmai Šiuolaikinio meno centras LAURIE ANDERSON (JAV) SYNAESTHESIS THE LANGUAGE OF THE FUTURE IN FAHRENHEIT Florent Ghys. An Open Cage (2012) 28 Spalio 21 d., sekmadienis, 20 val. Frederic Rzewski. Les Moutons MO muziejus de Panurge (1969) SYNAESTHESIS Meredith Monk. Double Fiesta (1986) IN CELSIUS Julia Wolfe. Stronghold (2008) Panayiotis Kokoras. Conscious Sound (2014) Julia Wolfe. Reeling (2012) Alexander Schubert. Sugar, Maths and Whips Julia Wolfe. Big Beautiful Dark and (2011) Scary (2002) Tomas Kutavičius. Ritus rhythmus (2018, premjera)* 56 Spalio 27 d., šeštadienis, 19 val. Louis Andriessen. Workers Union (1975) Lietuvos nacionalinė filharmonija LIETUVOS NACIONALINIS 36 Spalio 24 d., trečiadienis, 19 val. SIMFONINIS ORKESTRAS Šiuolaikinio meno centras RŪTA RIKTERĖ ir ZBIGNEVAS Styginių kvartetas CHORDOS IBELHAUPTAS (fortepijoninis duetas) Dalyvauja DAUMANTAS KIRILAUSKAS COLIN CURRIE (kūno perkusija, (fortepijonas) Didžioji Britanija) Laurie Anderson. -
Back Cover Image
559682 rr Reich EU.qxp_559682 rr Reich EU 18/09/2020 08:44 Page 1 CMYK N 2 A 8 Steve X 6 Pl aying O 9 Time : S 5 5 R(bE. I19C36)H . 73:24 1 B o U A 8 f o l n l t o a Music for Two or More Pianos 10:57 h r (1964)* k i u 2 i g MERICAN LASSICS s l A C t e h h t c t o s Eight Lines for ensemble (1979/1983) 17:12 o n r 3 o m i i z n t Steve Reich is universally acknowledged e e p t S s d Vermont Counterpoint a h c i i T p s as one of the foremost exponents of n t u 9:33 for flutes and tape (1982) d s E E b o i n s l minimalism, arguably the most i u V e c c g n f New York Counterpoint l i p p d i s significant stylistic trend in late 20th- E r e h o r r L 4 12:07 e for clarinets and tape (1985) h f • o R c century music. This chronological i K = ca. 184 4:56 b r 5 o y m o i E r t t d e m = ca. 92 2:40 i a 6 survey shows how Reich’s innate i d I n n m . = ca. 184 3:31 C C c g e ൿ e curiosity has taken his work far beyond , n • , H a t & b a r s t such musical boundaries. -
An Exploration of Late Twentieth and Twenty-First Century Clarinet Repertoire
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 2021 An Exploration of Late Twentieth and Twenty-First Century Clarinet Repertoire Grace Talaski [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/gs_rp Recommended Citation Talaski, Grace. "An Exploration of Late Twentieth and Twenty-First Century Clarinet Repertoire." (Spring 2021). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. AN EXPLORATION OF LATE TWENTIETH AND TWENTY-FIRST CENTURY CLARINET REPERTOIRE by Grace Talaski B.A., Albion College, 2017 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music School of Music in the Graduate School Southern Illinois University Carbondale April 2, 2021 Copyright by Grace Talaski, 2021 All Rights Reserved RESEARCH PAPER APPROVAL AN EXPLORATION OF LATE TWENTIETH AND TWENTY-FIRST CENTURY CLARINET REPERTOIRE by Grace Talaski A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music Approved by: Dr. Eric Mandat, Chair Dr. Christopher Walczak Dr. Douglas Worthen Graduate School Southern Illinois University Carbondale April 2, 2021 AN ABSTRACT OF THE RESEARCH PAPER OF Grace Talaski, for the Master of Music degree in Performance, presented on April 2, 2021, at Southern Illinois University Carbondale. TITLE: AN EXPLORATION OF LATE TWENTIETH AND TWENTY-FIRST CENTURY CLARINET REPERTOIRE MAJOR PROFESSOR: Dr. Eric Mandat This is an extended program note discussing a selection of compositions featuring the clarinet from the mid-1980s through the present. -
2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J. -
Extended Play Review 25082018
EXTENDED PLAY (CITY RECITAL HALL) Not so much a new music tasting plate as a sumptuous multi-course banquet. by Angus McPherson on August 27, 2018 City Recital Hall, Sydney August 25, 2018 While the theatre world was immersed in the double-bill opening of Sydney Theatre Company’s The Harp in the South, another marathon performance was taking place in Sydney. Billed as a ‘micro festival’, Extended Play at City Recital Hall saw the city’s new music community descend on Angel Place for 12 straight hours of music. While I described it in a preview piece as part “tasting-plate”, the reality was more like a sumptuous multi-course banquet of music at which one could gorge until sated – and then gorge some more. Extended Play opened at midday with Elision Ensemble, whose set ranged from the swirling, sometimes brutal electronics of Aaron Cassidy’s The Wreck of Former Boundaries and colourful sonic textures of Richard Barrett’s world-line to Liza Lim’s complex, glittering solo The Su Song Star Map, performed by Graeme Jennings on violin. The next 12 hours revolved around the handful of main acts in the auditorium, with smaller-scale performances orbiting in spaces strewn across the venue, from the Level 1 Function Room to the bars and open spaces on Levels 2 and 3. Brisbane-based ensemble Topology, with guitarist Karin Schaupp, brought their incredibly moving collaboration with film-maker Trent Dalton, Love Stories, to the festival’s main stage next. Topology’s music interwove with interviews of patrons and staff at Brisbane’s 139 Club (now called 3rd Space), a drop-in centre offering support for city’s homeless and at-risk, in a deeply felt exploration of pain and love. -
Oceanic Migrations
San Francisco Contemporary Music Players on STAGE series Oceanic Migrations MICHAEL GORDON ROOMFUL OF TEETH SPLINTER REEDS September 14, 2019 Cowell Theater Fort Mason Cultural Center San Francisco, CA SFCMP SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS San Francisco Contemporary Music Brown, Olly Wilson, Michael Gordon, Players is the West Coast’s most Du Yun, Myra Melford, and Julia Wolfe. long-standing and largest new music The Contemporary Players have ensemble, comprised of twenty-two been presented by leading cultural highly skilled musicians. For 49 years, festivals and concert series including the San Francisco Contemporary Music San Francisco Performances, Los Players have created innovative and Angeles Monday Evening Concerts, Cal artistically excellent music and are one Performances, the Stern Grove Festival, Tod Brody, flute Kate Campbell, piano of the most active ensembles in the the Festival of New American Music at Kyle Bruckmann, oboe David Tanenbaum, guitar United States dedicated to contemporary CSU Sacramento, the Ojai Festival, and Sarah Rathke, oboe Hrabba Atladottir, violin music. Holding an important role in the France’s prestigious MANCA Festival. regional and national cultural landscape, The Contemporary Music Players Jeff Anderle, clarinet Susan Freier, violin the Contemporary Music Players are a nourish the creation and dissemination Peter Josheff, clarinet Roy Malan, violin 2018 awardee of the esteemed Fromm of new works through world-class Foundation Ensemble Prize, and a performances, commissions, and Adam Luftman, -
THIRD COAST PERCUSSION with Notre Dame Vocale, Carmen-Helena Téllez, Director PRESENTING SERIES TEDDY EBERSOL PERFORMANCE SERIES SUN, JAN 26 at 2 P.M
THIRD COAST PERCUSSION with Notre Dame Vocale, Carmen-Helena Téllez, director PRESENTING SERIES TEDDY EBERSOL PERFORMANCE SERIES SUN, JAN 26 AT 2 P.M. LEIGHTON CONCERT HALL DeBartolo Performing Arts Center University of Notre Dame Notre Dame, Indiana AUSTERITY MEASURES Concert Program Mark Applebaum (b. 1967) Wristwatch: Geology (2005) (5’) Marc Mellits (b. 1966) Gravity (2012) (11’) Thierry De Mey (b. 1956) Musique de Tables (1987) (8’) Steve Reich (b. 1936) Proverb (1995) (14’) INTERMISSION Timo Andres (b. 1985) Austerity Measures (2014) (25’) Austerity Measures was commissioned by the University of Notre Dame’s DeBartolo Performing Arts Center and Sidney K. Robinson. This commission made possible by the Teddy Ebersol Endowment for Excellence in the Performing Arts. This engagement is supported by the Arts Midwest Touring Fund, a program of Arts Midwest, which is generously supported by the National Endowment for the Arts with additional contributions from the Indiana Arts Commission. PERFORMINGARTS.ND.EDU Find us on PROGRAM NOTES: Mark Applebaum is a composer, performer, improviser, electro-acoustic instrument builder, jazz pianist, and Associate Professor of Composition and Theory at Stanford University. In his TED Talk, “Mark Applebaum, the Mad Scientist of Music,” he describes how his boredom with every familiar aspect of music has driven him to evolve as an artist, re-imagining the act of performing one element at a time, and disregarding the question, “is it music?” in favor of “is it interesting?” Wristwatch: Geology is scored for any number of people striking rocks together. The “musical score” that tells the performs what to play is a watch face with triangles, squares, circles and squiggles. -
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. -
“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. -
Chapter Three Minimal Music
72 Chapter Three Minimal music This chapter begins with a brief outline of minimal music in the United States, Europe and Australia. Focusing on composers and stylistic characteristics of their music, plus aspects of minimal music pertinent to this study, it helps the reader situate the compositions, composers and events referred to throughout the thesis. The chapter then outlines reasons for engaging students aged 9 to 18 years in composing activities drawn from projects with minimalist characteristics, reasons often related to compositional or historical aspects of minimal music since the late 1960s. A number of these reasons are educational, concerned with minimalism as an accessible teaching resource that draws on students’ current musical knowledge and offers a bridge from which to explore musics of other cultures and other contemporary art musics. Other reasons are concerned with the performance capabilities of students, with the opportunity to introduce students to a contemporary aesthetic, to different structural possibilities and collaboration and subject integration opportunities. There is also an educational need for a study investigating student composing activities to focus on these activities in relation to contemporary art music. There are social reasons for engaging students in minimalist projects concerned with introducing students to contemporary arts practice through ‘the new tonality’, involving students with a contemporary music which is often controversial, and engaging students with minimalism at a time of particular activity and expansion in the United States and in Australia. 3.1 Minimalism Minimalism is an aesthetic found across a number of different art forms – architecture, dance, visual art, theatre, design and music - and at the beginning of the twenty-first century, it is still strongly influential on many contemporary artists. -
To Repeat Or Not to Repeat, That Is the Question1 by Kyle Gann
To Repeat or Not to Repeat, That Is the Question1 By Kyle Gann Steve Reich In the good old 1960s, the Bohemian life was cheap in lower Manhattan, the streets were relatively safe, and artists drove cabs for a living. Steve Reich, for example. He had been experimenting with tapes of interesting voices he found, and he rigged up his cab with a tape recorder so he could tape some of his passengers. One day he recorded a young African- American man who had been beaten up in the Harlem riots of 1964. By the young man's account, the police were taking away victims and would only take those who were visibly bleeding to the hospital. This young man wasn't bleeding, so, as he said, "I had to, like, open the bruise up and let some of the bruise blood come out to show them." The inner melody of that phrase intrigued Reich. He took the tape home and made tape loops from the words "Come out to show them." He started two of the tape loops together and, because his cheap tape recorders weren't precisely the same speed, he listened to them inevitably out of phase. This gradual phasing process obscured the words and turned them into a little repeated melody in C minor. Reich taped the whole process and called the resulting piece Come Out. Describing how it felt the first time he heard two tape loops go out of phase, Reich said, "The sensation that I had in my head was that the sound moved over to my left ear, down to my left shoulder, down my left arm, down my leg, out across the floor to the left, and finally began to reverberate and shake..