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Writings on Music 1965â#x80;#x93;2000.

Author: Steve Reich; Paul Hillier; ProQuest (Firm)
Publisher: Oxford ; New York : Oxford University Press, 2002.
Edition/Format:   eBook : Document : English
Summary:
In the mid-1960s, Steve Reich radically renewed the musical landscape with a back-to-basics sound that came to be called Minimalism. These early works, characterized by a relentless pulse and static harmony, focused single-mindedly on the process of gradual rhythmic change. Throughout his career, Reich has continued to reinvigorate the music world, drawing from a wide array of classical, popular, sacred, and  Read more...
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Genre/Form: Electronic books
Criticism, interpretation, etc
Additional Physical Format: Print version
Reich, Steve
Writings on Music 1965â#x80;#x93;2000
Cary : Oxford University Press,c2000
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Steve Reich; Paul Hillier; ProQuest (Firm)
ISBN: 9780195301908 0195301900
OCLC Number: 1097153247
Description: 1 online resource (271 pages)
Contents: Intro --
CONTENTS --
INTRODUCTION --
1 EARLY WORKS (1965-68) --
IT'S GONNA RAIN (1965) --
COME OUT-MELODICA-PIANO PHASE (1966-67) --
VIOLIN PHASE (1967) --
SLOW MOTION SOUND (1967) --
MY NAME IS (1967) --
PENDULUM MUSIC (1968) --
2a: EXCERPTS FROM AN INTERVIEW IN ART FORUM --
2b: MUSIC AS A GRADUAL PROCESS (1968) --
3 WAVELENGTH BY MICHAEL SNOW (1968) --
4 THE PHASE SHIFTING PULSE GATE-FOUR ORGANS- PHASE PATTERNS AN END TO ELECTRONICS (1968-70) --
5 SOME OPTIMISTIC PREDICTIONS (1970) ABOUT THE FUTURE OF MUSIC --
6 FIRST INTERVIEW WITH MICHAEL NYMAN (1970) --
7 GAHU-A DANCE OF THE EWE TRIBE IN GHANA (1971) --
8 DRUMMING (1971) --
9 CLAPPING MUSIC (1972) --
10 POSTSCRIPT TO A BRIEF STUDY OF BALINESE AND AFRICAN MUSIC (1973) --
11 NOTES ON MUSIC AND DANCE (1973) --
12 SIX PIANOS (1973) --
13 MUSIC FOR MALLET INSTRUMENTS, VOICES, AND ORGAN (1973) --
14 MUSIC FOR PIECES OF WOOD (1973) --
15 STEVE REICH AND MUSICIANS (1973) --
16 MUSIC AND PERFORMANCE (1969-74 --
1993) --
17a: VIDEOTAPE AND A COMPOSER (1975) --
17b: DACHAU 1974, BY BERYL KOROT --
18 MUSIC FOR 18 MUSICIANS (1976) --
19 SECOND INTERVIEW WITH MICHAEL NYMAN (1976) --
20 MUSIC FOR A LARGE ENSEMBLE (1978) --
21 OCTET (1979) --
22 VARIATIONS FOR WINDS, STRINGS, AND KEYBOARDS (1979) --
23 TEHILLIM (1981) --
24 HEBREW CANTILLATION AS AN INFLUENCE ON COMPOSITION (1982) --
25 VERMONT COUNTERPOINT (1982) --
26 EIGHT LINES (1983) --
27 THE DESERT MUSIC (1984) --
NOTE BY THE COMPOSER --
TEXT BY WILLIAM CARLOS WILLIAMS --
28 THE DESERT MUSIC- STEVE REICH IN CONVERSATION WITH JONATHAN COTT (1984) --
29 SEXTET (1985) --
30 NEW YORK COUNTERPOINT (1985) --
31 THREE MOVEMENTS (1986) --
32 SIX MARIMBAS (1986) --
33 TENNEY (1986) --
34 TEXTURE-SPACE-SURVIVAL (1987) --
35 THE FOUR SECTIONS (1987) --
36 ELECTRIC COUNTERPOINT (1987) --
37 NON-WESTERN MUSIC AND THE WESTERN COMPOSER (1988). 38 DIFFERENT TRAINS (1988) --
39 CHAMBER MUSIC-AN EXPANDED VIEW (1989) --
40 QUESTIONNAIRE (1989) --
41 ON THE SIZE AND SEATING OF AN ORCHESTRA (1990) --
42 AARON COPLAND (1990) --
43 JOHN CAGE (1992) --
44 KURT WEILL, THE ORCHESTRA, AND VOCAL STYLE- AN INTERVIEW WITH K. ROBERT SCHWARZ (1992) --
45 THE CAVE (1993): A NEW TYPE OF MUSIC THEATER WITH BERYL KOROT SYNOPSIS --
46 JONATHAN COTT INTERVIEWS BERYL KOROT AND STEVE REICH ON THE CAVE (1993) --
47 THOUGHTS ABOUT THE MADNESS IN ABRAHAM'S CAVE (1994) WITH BERYL KOROT --
48 ANSWERS TO QUESTIONS ABOUT DIFFERENT TRAINS (1994) --
49 DUET (1994) --
50 NAGOYA MARIMBAS (1994) --
51 THE FUTURE OF MUSIC FOR THE NEXT 150 YEARS (1994) --
52 BEAUTIFUL/UGLY (1994) --
53 SCHÃ#x96;NBERG (1995) --
54 CITY LIFE (1995) --
55 PROVERB (1995) --
56 MUSIC AND LANGUAGE (1996) --
57 FELDMAN (1997) --
58 BERIO (1997) --
59 THREE TALES (1998-2002) WITH BERYL KOROT --
60 TRIPLE QUARTET (1999) --
61 KNOW WHAT IS ABOVE YOU (1999) --
62 TWO QUESTIONS ABOUT OPERA (1999) --
63 LIGETI (2000) --
64 DE KEERSMAEKER, KYLIAN, AND EUROPEAN DANCE (2000) --
65 STEVE REICH IN CONVERSATION WITH PAUL HILLIER (2000) --
TEXT CREDITS --
BIBLIOGRAPHY --
INDEX --
A --
B --
C --
D --
E --
F --
G --
H --
I --
J --
K --
L --
M --
N --
O --
P --
R --
S --
T --
U --
V --
W --
Y.
Other Titles: Essays.

Abstract:

In the mid-1960s, Steve Reich radically renewed the musical landscape with a back-to-basics sound that came to be called Minimalism. These early works, characterized by a relentless pulse and static harmony, focused single-mindedly on the process of gradual rhythmic change. Throughout his career, Reich has continued to reinvigorate the music world, drawing from a wide array of classical, popular, sacred, and non-western idioms. His works reflect the steady evolution of an original musical mind. Writings on Music documents the creative journey of this thoughtful, groundbreaking composer. These 64 short pieces include Reich's 1968 essay "Music as a Gradual Process," widely considered one of the most influential pieces of music theory in the second half of the 20th century. Subsequent essays, articles, and interviews treat Reich's early work with tape and phase shifting, showing its development into more recent work with speech melody and instrumental music. Other essays recount his exposure to non-western music--African drumming, Balinese gamelan, Hebrew cantillation--and the influence of these musics as structures and not as sounds. The writings include Reich's reactions to and appreciations of the works of his contemporaries (John Cage, Luciano Berio, Morton Feldman, Gyorgy Ligeti) and older influences (Kurt Weill, Schoenberg). Each major work of the composer's career is also explored through notes written for performances and recordings. Paul Hillier, himself a respected figure in the early music and new music worlds, has revisited these texts, working with the author to clarify their central narrative: the aesthetic and intellectual development of an influential composer. For long-time listeners and young musicians recently introduced to his work, this book provides an opportunity to get to know Reich's music in greater depth and perspective.

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