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Steve Reich

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Journal Article
Journal of Music Theory (2021) 65 (2): 325–374.
Published: 01 October 2021
...Jason Yust Abstract This article demonstrates how to obtain a periodicity-based description of cyclic rhythms using the discrete Fourier transform and applies this to understanding Steve Reich's use of rhythmic canons in a series of works from the early 1970s through the 1990s. The primary...
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Journal Article
Journal of Music Theory (2022) 66 (1): 93–128.
Published: 01 April 2022
... of melodic possibility in phased portions of Steve Reich's The Desert Music . Integrating variable cardinality into contour similarity relations in this way more adequately accounts for familial relationships between contours and can provide new and valuable insights into one of music's most fundamental...
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Published: 01 April 2022
Example 2. The sixteen melodies of Quinn’s melody family, labeled “M,” from Steve Reich’s Desert Music, iii (Quinn 1997 : 234). More
Journal Article
Journal of Music Theory (2009) 53 (1): 137–162.
Published: 01 April 2009
... . “Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music.” Perspectives of New Music 30 : 146 -77. ———. 1996 . “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions.” Music Analysis 15 : 9 -40. ———. 2001 . “Complex Hemiolas...
Journal Article
Journal of Music Theory (2022) 66 (2): 291–302.
Published: 01 October 2022
..., Partiels (1975) KC and Sunshine Band, “Keep it Comin’ Love” (1976) Steve Reich, Octet (1979) Jonathan Harvey, Mortuos Plango, Vivos Voco (1980) James A. Moorer, “THX logo theme” (1982) Stephen Flaherty, “Human Heart,” Once on this Island (1990) Ebbot Lundberg/Mattias Bärjed...
Journal Article
Journal of Music Theory (2011) 55 (1): 1–41.
Published: 01 April 2011
... – 206 . Clough John . 1979 . '' Aspects of Diatonic Sets. '' Journal of Music Theory 23 : 45 – 61 . Cohn Richard . 1992 . '' Transpositional Combination of Beat-Class Sets in Steve Reich's Phase-Shifting Music. '' Perspectives of New Music 30 : 146 – 77 . Conen...
Journal Article
Journal of Music Theory (2012) 56 (2): 285–291.
Published: 01 October 2012
.... The legacy of these interactive textures calls to mind the music of Steve Reich and perhaps that of Elliott Carter. (163) But Horlacher’s description of Ives’s music also describes precisely definable relations. Don’t we often describe Carter’s textures in terms...
Journal Article
Journal of Music Theory (2022) 66 (2): 303–314.
Published: 01 October 2022
... Got a Bone to Pick’: Formal Ambivalence and Double Consciousness in Kendrick Lamar's ‘King Kunta.’ ” Music Theory Online 25 , no. 1 . https://mtosmt.org/issues/mto.19.25.1/mto.19.25.1.bungert.html . Cohn Richard . 1992 . “ Transpositional Combination of Beat-Class Sets in Steve Reich's...
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Journal Article
Journal of Music Theory (2019) 63 (2): 167–207.
Published: 01 October 2019
... Combination of Beat-Class Sets in Steve Reich s Phase-Shifting Music. Perspectives of New Music 30, no. 2: 146 77. Cohn, Richard. 1997. Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations. Journal of Music Theory 41, no. 1: 1 66. Cohn, Richard. 2003. A Tetrahedral Graph...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... . The Affinities and Medieval Transposition . Bloomington : Indiana University Press . Quinn Ian . 2002 . “Foundations of Steve Reich's Later Harmonic Practice: The Variations and Tehilim.” Paper presented at the joint meeting of the Society for Music Theory and American Musicological Society...
Journal Article
Journal of Music Theory (2004) 48 (2): 219–294.
Published: 01 October 2004
... . “Pitch Class Set Structures in Contemporary Jazz.” Jazz Research 14 : 133 -72. Quinn, Ian. 2002 . “Foundations of Steve Reich's Later Harmonic Practice: The Variations and Tehilim.” Columbus, OH: Paper Read at the Joint Meeting of the Society for Music Theory and American Musicological Society...
Journal Article
Journal of Music Theory (2010) 54 (1): 5–23.
Published: 01 April 2010
... artistic categories. (Cavell mentions that he is drawn in this way by Anthony Caro’s sculpture but not by pop art or Karlheinz Stockhausen; I am similarly drawn by Steve Reich’s Piano Phase but not by Pierre Boulez’s Structures Ia, even...
Journal Article
Journal of Music Theory (2013) 57 (1): 159–191.
Published: 01 April 2013
... with no obvious scale. Tymoczko often plots them on lattices that make them appear to be close as a group, but the actual successions in the music usually change the collections by more than one semitone (325, 329–30, 335, 339). The music of Steve Reich receives spe...
Journal Article
Journal of Music Theory (2000) 44 (2): 323–379.
Published: 01 October 2000
... and time”; Steve Reich, “the changing light as clouds move slowly across the sky.” These descriptions provide a strong contrast to the emotional evo- cations of their Romantic predecessors just a century earlier. In the words of Liszt, “one symphony expresses to a supreme degree the several phases...
Journal Article
Journal of Music Theory (2023) 67 (1): 1–70.
Published: 01 April 2023
... to a quintal hexachordal voicing, spaced (3, 4, 3, 4, 3) and spanning almost three octaves. Moving the bottom three voices up by two octaves produces the “smeared” quintal voicing (4, 3, 1, 3, 4); it is common in jazz and can be heard in Steve Reich's Nagoya Marimbas (mm. 57–64; see also Levine 1989 : 141...
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Journal Article
Journal of Music Theory (2004) 48 (2): 147–218.
Published: 01 October 2004
... structure. 3. Crisp boundaries and discrete subsets are incompatible with many types of musical structures, including those based on cyclic permutation or subset inclusion and recombination. Works that make systematic use of cyclic permutations (rotations) (e.g., Steve Reich’s Piano Phase; Ruth...