Relevant bibliographies by topics / Reich, Steve, Minimal music Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Reich, Steve, Minimal music Music'

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Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Reich, Steve, Minimal music Music"

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Kroeger, Karl, Wim Mertens, J. Hautekiet, and Michael Nyman. "American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass." American Music 6, no. 2 (1988): 241. http://dx.doi.org/10.2307/3051553.

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Beirens, Maarten. "QUOTATION AS A STRUCTURAL ELEMENT IN MUSIC BY MICHAEL NYMAN." Tempo 61, no. 242 (October 2007): 25–38. http://dx.doi.org/10.1017/s0040298207000289.

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One of the most striking features in the music of the British composer Michael Nyman (born 1944) is the emphatic presence of musical quotations. This may be all the more remarkable because the main influence on Nyman's compositional style is minimal music. Generally, American minimal music is characterized by a large degree of abstraction, focussing on absolute music, clear abstract structures and the gradual unfolding of systematic musical processes. The almost provocatively objective appearance of the titles of works by Steve Reich (Violin Phase, Four Organs, Music for 18 Musicians) may be seen as emblematic for a music in which the transparent, process-like transformation of limited musical material calls for an equally objective type of material. Although American minimalists such as Steve Reich, Terry Riley and Philip Glass take recourse to diatonic material and tonal or modal harmonies, any reference to specific historical models is almost unconceivable in their early work, as the associations that come with the quoted material would only distract the listener from the systematic processes that the material is being subjected to, which forms the essence of this style. In that respect, Michael Nyman's fusion of minimalist strictness with openly acknowledged borrowings of pre-existing music sets him apart from his American contemporaries. This article investigates how Nyman applies different aspects of his quotation technique, how he incorporates the musical and extra-musical characteristics and associations that come with the quoted material into a solid musical statement, and how all this is combined with the strictness of his minimalism-related composition technique.
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Beirens, Maarten. "QUOTATION AS A STRUCTURAL ELEMENT IN MUSIC BY MICHAEL NYMAN." Tempo 61, no. 242 (October 2007): 25–38. http://dx.doi.org/10.1017/s0040298200000280.

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One of the most striking features in the music of the British composer Michael Nyman (born 1944) is the emphatic presence of musical quotations. This may be all the more remarkable because the main influence on Nyman's compositional style is minimal music. Generally, American minimal music is characterized by a large degree of abstraction, focussing on absolute music, clear abstract structures and the gradual unfolding of systematic musical processes. The almost provocatively objective appearance of the titles of works by Steve Reich (Violin Phase, Four Organs, Music for 18 Musicians) may be seen as emblematic for a music in which the transparent, process-like transformation of limited musical material calls for an equally objective type of material. Although American minimalists such as Steve Reich, Terry Riley and Philip Glass take recourse to diatonic material and tonal or modal harmonies, any reference to specific historical models is almost unconceivable in their early work, as the associations that come with the quoted material would only distract the listener from the systematic processes that the material is being subjected to, which forms the essence of this style. In that respect, Michael Nyman's fusion of minimalist strictness with openly acknowledged borrowings of pre-existing music sets him apart from his American contemporaries. This article investigates how Nyman applies different aspects of his quotation technique, how he incorporates the musical and extra-musical characteristics and associations that come with the quoted material into a solid musical statement, and how all this is combined with the strictness of his minimalism-related composition technique.
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Puca, A. "Steve Reich and Hebrew Cantillation." Musical Quarterly 81, no. 4 (January 1, 1997): 537–55. http://dx.doi.org/10.1093/mq/81.4.537.

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Smith, Geoff. "Steve Reich Talking About ‘The Cave’." Tempo, no. 186 (September 1993): 16–19. http://dx.doi.org/10.1017/s0040298200003053.

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Well, I've been collaborating with my wiie, the video artist Beryl Korot. Her work involves multi-channel video where the timings between the channels are very highly worked out – four channels where the first and third and the second and fourth would be interlocked – very musicaltype structures. So it was a natural collaboration, but the question was, what's it all about? In a few minutes we decided it would be the Cave of Machpela. Beryl and I had both become interested in our own Judaic backgrounds and had both begun studying the Torah. We discovered that there's a town in a very politically sensitive area of the world, Hebron, thirty miles south of Jerusalem in the West Bank, where Abraham is accepted to be buried by Jews, Muslims and Christians. Whether he's there or not is really immaterial. I think part of the decision to choose the Cave of Machpela was that, on a political level and as a human being living in the world today, I don't think you can understand what's going on in the Middle East unless you understand the Biblical and the Koranic level of the conflict – otherwise you miss the base on which it all stands.
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Morris, Patrick. "Steve Reich and Debussy: Some Connexions." Tempo, no. 160 (March 1986): 8–14. http://dx.doi.org/10.1017/s0040298200023019.

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Debussy's Works offer numerous examples of what, with historical hindsight, could be called systemic thinking. Texture is built up from repetitions of various elements—melodic scraps, trills, runs, figures—in such a way that the traditional view of Debussy as a primarily harmonic composer has to be temporarily abandoned. The combinations that these repetitions produce have a connexion with the innovative harmonic practices for which Debussy is famous; but this should not blind us to the fact that the underlying thought is often, in the good sense of the word, repetitious—see Examples 1 and 2, for instance.
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Gilmore, Bob. "Review: Steve Reich: Writings on Music 1965–2000." Music and Letters 85, no. 1 (February 1, 2004): 137–40. http://dx.doi.org/10.1093/ml/85.1.137.

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Hillier, Paul. "“Some more lemon?…” A conversation with Steve Reich." Contemporary Music Review 12, no. 2 (January 1995): 65–75. http://dx.doi.org/10.1080/07494469500640181.

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Potter, Keith. "Steve Reich: Thoughts for His 50th-Birthday Year." Musical Times 127, no. 1715 (January 1986): 13. http://dx.doi.org/10.2307/965345.

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Miller, Malcolm. "London, Royal Festival Hall: Steve Reich's ‘Radio Rewrite’." Tempo 67, no. 265 (July 2013): 78–79. http://dx.doi.org/10.1017/s0040298213000521.

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Radio Rewrite, whose world première by the London Sinfonietta (who co-commissioned it) was warmly greeted by the capacity audience at the Royal Festival Hall on 5 March 2013, represents a fascinating postmodern symbiosis that attests to the veteran minimalist composer's continuing quest to cross new aesthetic boundaries in his eighth decade. It formed the centrepiece of a stunning concert, broadcast live by BBC Radio 3, which marked the first leg of a UK Reich tour that preceded the work's first USA airing (in Stanford on 16 March by the other commissioning ensemble, Alarm Will Sound). Reich concerts are occasions, and here the master himself together with percussionist David Hockings opened the programme with Clapping, then joined Sound Intermedia in their artful shaping of the amplified soundscape in a virtuoso performance by Mats Bergström of Electric Counterpoint. It was a performance of that work in Krakow in 2011, by Johnny Greenwood from the rock band Radiohead, that led to Reich's exploration and exploitation of their repertoire – notably two songs, ‘Jigsaw Falling into Place’ and ‘Everything in Its Right Place’ – in his new work.
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Dissertations / Theses on the topic "Reich, Steve, Minimal music Music"

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Tones, Daniel Mark. "Elements of Ewe music in the music of Steve Reich." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31173.

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This study examines contextual and structural similarities between Ewe music and the music of Steve Reich. It suggests that researching and performing Ewe music leads to a deeper understanding of rhythm and time in Reich's music, and contributes to accurate, informed performances of his compositions. In broader terms it proposes that practical understanding of the ways in which some non-Western cultures perceive rhythmic structure and temporal organization assists in confronting similar concepts in twentieth and twenty-first century contemporary Western art music. Incorporated in this study are the research of historians, ethnomusicologists, and performers, and the first-hand testimony of those involved in the creation and performance of Reich's music. This study also draws upon this author's performing and pedagogical experience to illustrate problems encountered when learning and performing some of Reich's works; and to suggest ways of overcoming them. Issues presented are applicable especially to scholars and performers who wish to gain detailed understanding of Reich's music through cross-cultural analysis, and to music educators who embrace non-Western musicianship as a means of developing practical skills that can be applied to the performance of Western art music.
Arts, Faculty of
Music, School of
Graduate
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Pymm, John Michael. "Narrative trails in the speech-based music of Steve Reich." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/374883/.

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This thesis considers Steve Reich's speech-based compositions between 1963 and 1988 in the light of their source materials. The collection comprises seven pieces: The Plastic Haircut(1964); Livelihood (1964); It's Gonna Rain (1965); Come Out (1966); Buy Art, Buy Art (1967); My Name Is (1967), and Different Trains (1988). The sources for these pieces constitute a plethora of hitherto unexamined audio recordings, transcriptions of which are included in a separate volume of appendices. The study presents a detailed transcription and consideration of these archival sources, culminating in a new narrative reading of each of Steve Reich's speech-based pieces from the first three decades of his compositional output. Although some recordings now exist on-line, Reich's decision in 2008 to transfer his private archive to the Paul Sacher Stiftung in Basel, Switzerland, has opened up a much larger collection. This considerable body of source material allows a new understanding of the stories told by each of these seven pieces. Whilst firmly rejecting the notion that his music tells stories, Reich has accepted that the documentary nature of the recorded materials for his speech-based works marks them out as a special case. This invites scrutiny of the relationship between these recordings and the pieces themselves, shedding new light on the narrative trails that connect them.
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Mileusnic-Plecas, Anja. "Taking Reich’s Pulse: Putting New Music into Context." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37839.

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Premiered on November 1st 2016, Steve Reich’s new work Pulse: For Winds, Strings, Piano and Electric Bass epitomizes 51 years of compositional development. Understandably, no formal or analytical discussions exist of this work, a lacuna that inspires the present research questions: Where does Pulse fall in relation to Reich’s overall style and technique? Is it a logical continuation of his compositional evolution? Does it make use of the techniques that distinguish him or does it venture into new territories? To answer these questions, the thesis combines a historical survey of Reich’s compositional output with an analysis of Pulse that considers current analytic scholarship. An overview of the literature on the composer serves to determine the separate compositional periods of his output in relation to his most employed techniques. This amalgamation allows for a historically and stylistically contextualized analysis of Pulse. The resulting synthesis not only creates a new categorization of Reich’s compositional development, but also shows that Pulse embodies a summation of the composer’s musical technique.
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Engdahl, Anton. "Minimalism och pop : Pop-produktioner inspirerade av Steve Reich." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74324.

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Det här är ett konstnärligt arbete som handlar om att producera popmusik influerad av Steve Reichs minimalistiska verk. Det inleddes med en analys av de musikaliska parametrarna harmonik, rytmik och klangfärg i tre av Reichs verk. Med resultatet från analysen som mall skapades sedan nya produktioner till tre poplåtar. Poplåtarna skrevs av författaren innan starten för detta arbete. Resultaten blev av varierande kvalitet. I vissa fall upplevde författaren att det mest lät som att man lyssnade på två låtar samtidigt. När författaren tog egna initiativ och lät ljudbilderna smälta samman mer upplevde han dock att resultatet blev bättre. I de fallen påstår han att musiken blev någonting mer än bara honom själv + Reich, den blev någonting nytt och helt unikt!
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Perez, Francisco S. "AN ANALYSIS AND PERFORMANCE GUIDE OF STEVE REICH’S MALLET QUARTET." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/109.

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Steve Reich’s music has had a profound effect on the contemporary percussionist’s repertoire. More recently, his Mallet Quartet (2009) has been one of the most performed works in the rising genre of mallet-keyboard quartets, which was featured in Third Coast Percussion’s 2017 Grammy-winning album Third Coast Percussion | Steve Reich. With Mallet Quartet, Reich codified this type of ensemble into the contemporary repertoire of percussion as evidenced through current commissions in progress by groups such as Sō Percussion and Third Coast Percussion. The purpose of this document is to delineate the trajectory (past and present) of the mallet-keyboard quartet and highlight the most important compositional characteristics found within Mallet Quartet. These characteristics include the use of canonical augmentations, large-scale tonal shifts, rhythmic modification, and developing variation. After this analysis, this dissertation provides a performance guide to Mallet Quartet which specifically address the practicalities necessary for a successful performance. Topics such as the setup of instruments, mallet considerations, approaches to challenges in part-reading, and common ensemble issues are discussed.
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Force, Kristin Alicia. "La Monte Young, Terry Riley, Steve Reich, and Philip Glass: The evolution of minimalism and audience response." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26636.

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Minimalism was a period in music throughout the postmodern twentieth century initiated by the compositions of La Monte Young (1935-- ), followed by those of Terry Riley (1935--), developed by Steve Reich (1936-- ), and evolved by Philip Glass (1937-- ). Minimalist music was influenced by the non-Western music of India, created by the constant repetition of musical patterns to generate a hypnotic state on the listener through stasis. The size of the minimalist audience has continually increased from the New York City loft-based performances of La Monte Young to the opera house performances of Philip Glass. The composer's goals for an audience, his musical adaptation, and the effect of stasis contribute to the differences in audience size. These three factors are examined through each composer's biography, early and late compositions, and concert reviews of the premieres. The techniques utilized by each composer have become more effective in the creation of stasis from the compositions of Young to Glass. The biographies of the four minimalists, their compositions, and the premieres serve as an excellent source in the examination of the connection between the composer and the audience.
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Isgitt, David. "An analysis of periodic rhythmic structures in the music of Steve Reich and György Ligeti." view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/isgitt%5Fdavid/index.htm.

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Fisher, Sarah Lynn. ""The Mind is Listening": Listening for Meaning in Steve Reich's 'The Desert Music'." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193300.

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This thesis examines _The Desert Music_ by Steve Reich in the context of the composer's artistic perspective and advocates studying the subjective listening experience as a tool for musical analysis. Challenging conventional approaches in musicology and music theory, this work examines how a specific analytical approach in turn shapes the values assigned to that work. Systematic documentation of the author's listening experience is presented as an application of this premise and as a template to use in subsequent investigations of how other listeners respond to the work. The author concludes, mirroring the ideas implied in _The Desert Music_ itself, that instead of suppressing individual responses as opinions too myriad and divergent to be relevant, we should recognize that these reactions are products of shared cultural experience and that discussing them collectively may lead to powerful revelations about artistic meaning that may not emerge any other way.
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King, Sarah. "What You Hear is What You Hear: Preparing an Arrangement of Steve Reich’s "Nagoya Marimbas" for Flute Choir." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/441.

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Visual artist Frank Stella (b. 1936) said about his work, “What you see is what you see.” A member of the visual art movement known as minimalism, he is famed for his repeating black -stripe paintings. There are noticeable parallels between the concept of these visual works and Steve Reich’s (b. 1936) minimalist music, particularly Nagoya Marimbas (1994). This Honors thesis will explore the roots of minimalism in the visual arts and music, Reich’s compositional voice, the repetitive rhythmic components of minimalist music, and the challenges of arranging a percussion piece for a flute ensemble leading up to the final arrangement, Nagoya Flutes.
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Isgitt, David. "An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3245/.

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The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.
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Books on the topic "Reich, Steve, Minimal music Music"

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Répétitions: L'esthétique musicale de Terry Riley, Steve Reich et Philip Glass. Paris: Presses Sorbonne nouvelle, 2010.

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Four musical minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge, UK: Cambridge University Press, 2002.

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Alexander Zemlinsky--Steve Reich: Alternative Moderne(n) : "Afrika" in der Kompositionskultur des 20. Jahrhunderts. Köln: Verlag Dohr, 2014.

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Musicians, Steve Reich and, and Fundação Calouste Gulbenkian, eds. Steve Reich and Musicians. Lisboa, Portugal: Fundação Calouste Gulbenkian, 1989.

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American Minimal Music: LA Monte Young, Terry Riley, Steve Reich, Philip Glass. John Deere Publishing, 1988.

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Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Music in the Twentieth Century). Cambridge University Press, 2000.

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Performance Practice in the Music of Steve Reich. Cambridge University Press, 2016.

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Hartenberger, Russell. Performance Practice in the Music of Steve Reich. Cambridge University Press, 2018.

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Steve Reich: A Bio-Bibliography (Bio-Bibliographies in Music). Greenwood Press, 2001.

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Le langage de Steve Reich: L'exemple de Music for 18 musicians (1976) (French Edition). Editions L'Harmattan, 2008.

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Book chapters on the topic "Reich, Steve, Minimal music Music"

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Fraser, Robert. "World Music: Listening to Steve Reich Listening to Africa; Listening to György Ligeti Listening to Reich." In Literature, Music and Cosmopolitanism, 185–94. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68480-2_12.

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Tenzer, Michael. "That’s All It Does." In Rethinking Reich, 303–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190605285.003.0014.

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Though integral to his formation as a composer, Steve Reich’s studies of Balinese gamelan have been overlooked. In part this is because of a certain redundancy: features of Balinese overlap significantly with the West African music whose impact on Reich’s formative works of the 1970s has been amply demonstrated. These include predominance of percussion, repetitive cyclic structures, interlocking rhythms, systems of oral transmission, and the nonprofessional ethos of the performing ensemble’s interactive behaviors. But what of the features of the Balinese music Reich studied and did not assimilate? Among these are malleable tempo, extended and minimally repetitive cycles, and tonally hierarchic melodies rooted in Southeast Asian traditions of sung poetry. Their eschewal opens pathways for insight into Reich’s music, as well as his cultural subjectivity, in the process illuminating unsuspected aesthetic affinity between his detractors among “uptown” composition apologists of the time and traditional Balinese musicians.
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"REICH, STEVE." In Music in the 20th Century (3 Vol Set), 530. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-393.

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Reich, Steve. "Steve Reich and Musicians (1973)." In Writings on Music 1965–2000, 79–81. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780195151152.003.0017.

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Fink, Robert. "Repetition, Speech, and Authority in Steve Reich’s “Jewish” Music." In Rethinking Reich, 113–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190605285.003.0006.

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Steve Reich’s “Jewish” works are logocentric to the core and thus, for all their sonic exuberance, culturally conservative. Beginning with experimental tape works like It’s Gonna Rain (1965) and My Name Is (1967), and blossoming into extended speech-driven multimedia “operas,” Reich doggedly explored his sense that the human voice transmitted something like prophetic Truth, tracing out his own path from the patriarchal tradition of Hebrew cantillation to the “self-presence” that philosopher Jean-Jacques Rousseau found at the origin of human language. As a composer, Reich put his musical ear (and his digital sampler) at the service of the logos, deriving both the visuals and the music of The Cave from distinctive speech patterns of its various “talking heads.” And yet, as Jacques Derrida famously noted, speech, music, and writing are not so easily separated—and the composer’s intent is exceeded by the complexity of his word-saturated operatic language.
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Reich, Steve. "Steve Reich in Conversation with Paul Hillier (2000)." In Writings on Music 1965–2000, 216–41. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780195151152.003.0068.

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Reich, Steve. "The Desert Music–Steve Reich in Conversation with Jonathan Cott (1984)." In Writings on Music 1965–2000, 127–31. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780195151152.003.0031.

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Bakker, Twila. "Steve Reich’s Counterpoints and Computers." In Rethinking Reich, 239–56. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190605285.003.0012.

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This chapter re-evaluates the role of Steve Reich’s 1980s Counterpoint series in the context of his reinvention as a venerated member of New York’s new music establishment. It aims to show how Reich's re-engagement with past compositional interests—now expressed in more conventional terminology—formed a significant step in facilitating his gradual transformation from outsider to insider. Running in parallel with Reich’s transition toward tradition was a significant change in the composer’s working methods through the use of computer technology, as found in works such as The Four Sections and Electric Counterpoint. An investigation into this important new development offers insights into how Reich has since then pragmatically incorporated digital compositional habits alongside previous analog ones, all while maintaining a secure foothold in the Western classical canon.
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"Minimalism and Narrativity: some stories by Steve Reich." In The Ashgate Research Companion to Minimalist and Postminimalist Music, 305–22. Routledge, 2016. http://dx.doi.org/10.4324/9781315613260-26.

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Reich, Steve. "Jonathan Cott Interviews Beryl Korot and Steve Reich on the Cave (1993)." In Writings on Music 1965–2000, 172–78. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780195151152.003.0049.

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Conference papers on the topic "Reich, Steve, Minimal music Music"

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Kvistad, Garry. "Rhythmic techniques and psychoacoustic effects of the percussion music of Steve Reich." In 166th Meeting of the Acoustical Society of America. Acoustical Society of America, 2014. http://dx.doi.org/10.1121/1.4863156.

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