Inter-Subject Correlation During New Music Listening: a Study of Electrophysiological and Behavioral Responses to Steve Reich'
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ZGMTH - the Order of Things
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bangor University Research Portal The Order of Things. Analysis and Sketch Study in Two Works by Steve ANGOR UNIVERSITY Reich Bakker, Twila; ap Sion, Pwyll Zeitschrift der Gesellschaft für Musiktheorie DOI: 10.31751/1003 PRIFYSGOL BANGOR / B Published: 01/06/2019 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Bakker, T., & ap Sion, P. (2019). The Order of Things. Analysis and Sketch Study in Two Works by Steve Reich. Zeitschrift der Gesellschaft für Musiktheorie, 16(1), 99-122. https://doi.org/10.31751/1003 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 09. Oct. 2020 ZGMTH - The Order of Things https://www.gmth.de/zeitschrift/artikel/1003.aspx Inhalt (/zeitschrift/ausgabe-16-1-2019/inhalt.aspx) Impressum (/zeitschrift/ausgabe-16-1-2019/impressum.aspx) Autorinnen und Autoren (/zeitschrift/ausgabe-16-1-2019/autoren.aspx) Home (/home.aspx) Bakker, Twila / ap Siôn, Pwyll (2019): The Order of Things. -
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 .................................................................................................................... -
“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.. -
Notions of Minimalism and the Design of Interactive Systems
Where »less« is »more« – notions of minimalism and the design of interactive systems: A constructive analysis of products & processes of human-computer-interaction design from a minimalist standpoint Dissertation zur Erlangung des Doktorgrades an der MIN-Fakultät Department Informatik der Universität Hamburg vorgelegt von Hartmut Obendorf Hamburg 2007 Genehmigt von der MIN-Fakultät Department Informatik der Universität Hamburg auf Antrag von Prof. Dr. Horst Oberquelle Erstgutachter(in)/Doktorvater Prof. Dr. Horst Oberquelle Zweitgutachter(in) Hamburg, den _______________ Datum der Disputation 4.4.2007 Prof. Dr. ____________________________ Leiter Department Informatik (Prof. Dr. N. Ritter) OVERVIEW 1 Designing for an Age of Complexity 11 Computing has added complexity to our lives. The search for machine beauty motivates the transfer of the notion of minimalism from art and music to the design of interactive systems, trying to explain simplicity, and to differentiate paths of reduction. For a concise example, four notions of minimalism are presented and discussed. 2 In Search of ‚Minimalism‘ – Roving in art history, music and elsewhere 21 Examples of works in art, music and literature that were collectively described with the label of Minimalism by contemporary criticism and art history are revisited. This chapter follows a historical rather than a conceptual order and aims not at a single definition of Minimalism, but instead tries to illustrate both the breadth of concepts underlying works characterized as minimal, and the recurrence of attributes of minimal art in different disciplines. 3 A Role for Minimalism in the Use-Centered Design of Interactive Systems 61 Based on these shared aspects of minimalism, four principles, namely functional, structural, constructional and compositional minimalism, are introduced. -
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. -
Multiple Meters and Metrical Processes in the Music of Steve Reich
Multiple Meters and Metrical Processes in the Music of Steve Reich Gretchen Horlacher Minimalist and repetitive music... reduces the elements of music to one, single component - periodicity. Pierre Boulez, New York Review of Books 31/1 1 (June 28, 1984): 14 That Steve Reich's music challenges listeners' rhythmic and metric faculties is well known; the composer himself has written "If I compose music that is to use repeating patterns and is also to remain interesting I must build in rhythmic ambiguity to make it possible for the ear to hear a given pattern beginning and ending in different places depending on slight differences of accent and on how one listens."1 Reich's statement draws our attention to two signal features of his metric language. First, a repeated motive may have more than one accentual interpretation; moreover, the contrasting interpretations differentiate the repeated motives, inviting the listener to engage in a process of comparison. Boulez's emphasis on periodicity is apt, for it is Reich's creative use of repetition within meter that gives the music its charge. Consider, for example, the music shown as Example la, a portion of Reich's 1967 Piano Phase, This excerpt from the two- piano work results from the superimposition of an original melody (played on one piano, and shown in filled-in noteheads in the top line of the example) with a cyclical permutation beginning on its sixth note (played on the other piano, and shown in open noteheads on the top line); the resulting two-part counterpoint is repeated many times over. -
In Steve Reich's Phase-Shifting Music
Structural Levels and Choice of Beat-Class Sets in Steve Reich's Phase-Shifting Music Roberto Antonio Saltini In his 1968 essay "Music as a Gradual Process," Steve Reich discussed the ideas underlying his compositional technique of phase-shifting,1 which was to characterize his music from 1965 to 197 1.2 Aside from this essay by the composer himself, very few studies of Reich's phase-shifting music have appeared.3 From "Music as a Gradual Process," one can summarize Reich's main concerns as follows: (1) The musical structure must be clear, as in compositions where structure (in Reich's terms, "process") and musical content are identical. There can be no "hidden" structures which, according to Reich, serve only to obscure the musical process. (2) Once the musical process is set into motion, it has a life of its own and therefore needs no further interference from the composer. (3) Improvisation plays no part in the musical process, since most of the musical parameters created by improvisation cannot be easily identified. (4) No matter how objective and 1 Steve Reich, Writings about Music (Halifax: Press of Nova Scotia College of Arts and Design, 1974), 9-11. ^For a comprehensive list of Reich's works which employ the phase- shifting technique, see Reich, 73-75. The date boundaries were established by Reich himself in a later essay, "Notes on Composition, 1965-1973" (Reich, 49-71). ^Indeed, very few analytical studies of any of Reich's compositions have appeared. For a representative sampling, though somewhat dated, of the more important European articles, see K. -
An Analysis and Performance Guide of Steve Reich's Mallet
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 AN ANALYSIS AND PERFORMANCE GUIDE OF STEVE REICH’S MALLET QUARTET Francisco S. Perez University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.050 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Perez, Francisco S., "AN ANALYSIS AND PERFORMANCE GUIDE OF STEVE REICH’S MALLET QUARTET" (2018). Theses and Dissertations--Music. 109. https://uknowledge.uky.edu/music_etds/109 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Harrison Jarvis, Piano
presents A Degree Recital: Harrison Jarvis, piano Thursday, May 27, 2021, at 3:00 PM View the concert on: Bard Conservatory YouTube. Phrygian Gates (1978) John Adams (b. 1947) Les Adieux (in Janáček’s Manier) György Kurtág (b. 1926) Perpetuum Mobile (Objet Trouvé) György Kurtág (b. 1926) The Banshee (1925) Henry Cowell (1897-1965) Piano Phase (1967) Steve Reich (b. 1936) Program Notes Phrygian Gates by John Adams Phrygian Gates, along with its companion piece China Gates, is what John Adamas considers to be his opus 1, a breakthrough moment where the composer rebelled against the 12- tone dogma of classical music schools and forged his own path in a post-minimalist style. Titled after electronic music gates, the confluence of electronic and acoustic inspirations is evident in the music’s systematic journeying through the circle of fifths and its cool flows of patterns. At nearly 30 minutes, Phrygian Gates is the longest piece on this program, and without a traditional beginning, middle and end, it almost sounds automated, as if it’s eternally playing, and we just happened to listen in to a slice of it. Selections from Játékok, by György Kurtág: Les Adieux (In Janáček’s Manier), Perpetuum Mobile (Objet Trouvé) Unlike most classical composers, György Kurtág is a master of tiny forms. The pieces in his ongoing collection Jatekok rarely run over a couple of minutes, but each has intricate infrastructures that reveal increasing complexity the closer one looks. While much of the music in today’s program is American composers explicitly cementing an American tradition, Kurtág music belongs snuggly in the European classical lineage. -
ANNE TERESA DE KEERSMAEKER Fase, Four Movements to the Music of Steve Reich Photo: Herman Sorgeloos Photo
LIVE ANNE TERESA DE KEERSMAEKER Fase, Four Movements to the Music of Steve Reich Photo: Herman Sorgeloos Photo: Choreography Technical Coordination Tate Modern Anne Teresa De Keersmaeker Joris Erven Curators Danced by Technicians Catherine Wood Anne Teresa De Keersmaeker, Wannes De Rydt, Kathy Noble Tale Dolven Michael Smets Assistant Curator Created with World Premiere Capucine Perrot Michèle Anne De Mey 18 March 1982 Beursschouwburg (Brussels) Intern Music Laura Hensser Steve Reich Production Piano Phase (1967), Come Out Rosas Production Manager (1966), Violin Phase (1967), Steve Wald Clapping Music (1972) Coproduction Early Works Sadler’s Wells (London), Assistant Production Manager Costumes Les Théâtres de la Ville Adam Hopper 1982: Martine André / de Luxembourg Anne Teresa De Keersmaeker Rosas is supported by Assistant to the the Flemish Authorities Artistic Director Anne Van Aerschot THURSDAY 19 JULY AND FRIDAY 20 JULY 2012, 20.30 As part of The Tanks at Tate Modern Fifteen Weeks of Art in Action 18 July – 28 October 2012 When she returned from New York, De Keersmaeker created Fase, certain basic principles of composition used in a way that was Four movements to the Music of Steve Reich, which opened in the independent and autonomous. More particularly, De Keersmaeker Beursschouwburg in Brussels in 1982. This production exploded aspires to an analogous relationship between dance and music. onto the scene and is still considered to have been the starting She usually finds the foundations for this in the structure of point of the contemporary dance movement that developed in the music, which is then taken up in the choreography. Flanders during the eighties.