Rethinking Reich brings together new perspectives on one of America's greatest contemporary composers. Offering a critical engagement with Steve Reich's prominence in the numerous, overlapping, and contentious worlds of contemporary classical music, these tightly focused and multifarious essays reassess the composer's contribution to music in the twentieth century.
Rethinking Reich brings together new perspectives on one of America's greatest contemporary composers. Offering a critical engagement with Steve Reich's prominence in the numerous, overlapping, and contentious worlds of contemporary classical music, these tightly focused and multifarious essays reassess the composer's contribution to music in the twentieth century.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Pwyll ap Siôn is Professor of Music at Bangor University, Wales. He studied music at Oxford University. Ap Siôn has published books and articles in the areas of minimalist and postminimalist music, quotation and intertextuality in music and minimalist music in film and media. He has contributed record reviews and articles for Gramophone music magazine since 2007. Sumanth Gopinath is Associate Professor of Music Theory at the University of Minnesota-Twin Cities. He is the author of The Ringtone Dialectic: Economy and Cultural Form (2013), co-edited The Oxford Handbook of Mobile Music Studies, vols. 1 and 2 (2014) with Jason Stanyek, and has published work on Steve Reich, minimalism, new media, Marxism, country music, and other topics. He is the leader of the independent Americana band, The Gated Community.
Inhaltsangabe
* Contents * Acknowledgments * Contributors * Introduction: Reich in Context * Sumanth Gopinath and Pwyll ap Siôn * Part I Political, Aesthetic, and Analytical Concerns * 1. "Departing to other spheres": Psychedelic Science Fiction, Perspectival Embodiment, and the Hermeneutics of Steve Reich's Four Organs * -- by Sumanth Gopinath * 2. "Moving Forward, Looking Back": Resulting Patterns, Extended Melodies, Eight Lines, and the influence of the West on Steve Reich * -- by Pwyll ap Siôn * 3. Different Tracks: Narrative sequence, Harmonic (Dis)continuity and Structural Organization in Steve Reich's Different Trains and The Cave * -- by Maarten Beirens * 4. "We are not trying to make a political piece": The Reconciliatory Aesthetic of Steve Reich's The Cave * -- by Ryan Ebright * Part II Repetition, Speech, and Identity * 5. Repetition, Speech, and Authority in Steve Reich's "Jewish" Music * -- by Robert Fink * 6. Steve Reich's Dramatic Sound Collage for the Harlem Six: Towards a Prehistory of Come Out * -- by John Pymm * 7. From World War Two to the "War on Terror": An Examination of Steve Reich's "Docu-Music" Style in WTC 9/11 * -- by Celia Fitz-Walter * Part III Reich Revisited: Sketch Studies * 8. "Save as ... '": Hybrid Resources in the Steve Reich Collection * -- by Matthias Kassel * 9. Sketching a New Tonality: A Preliminary Assessment of Steve Reich's Sketches for Music for 18 Musicians in Telling the Story of This Work's Approach to Tonality * -- by Keith Potter * 10. Improvisation, Two Variations on a Watermelon, and a New Timeline for Piano Phase * -- by David Chapman * 11. Steve Reich's Counterpoints and Computers: Rethinking the 1980s * -- by Twila Bakker * Part IV Beyond the West: Bali, Buddhism and Africa * 12. Afro-Electric Counterpoint * -- by Martin Scherzinger * 13. That's All It Does: Steve Reich and Balinese Gamelan * -- by Michael Tenzer * 14. "Machine Fantasies into Human Events": Reich and Technology in the 1970s * -- by Kerry O'Brien
* Contents * Acknowledgments * Contributors * Introduction: Reich in Context * Sumanth Gopinath and Pwyll ap Siôn * Part I Political, Aesthetic, and Analytical Concerns * 1. "Departing to other spheres": Psychedelic Science Fiction, Perspectival Embodiment, and the Hermeneutics of Steve Reich's Four Organs * -- by Sumanth Gopinath * 2. "Moving Forward, Looking Back": Resulting Patterns, Extended Melodies, Eight Lines, and the influence of the West on Steve Reich * -- by Pwyll ap Siôn * 3. Different Tracks: Narrative sequence, Harmonic (Dis)continuity and Structural Organization in Steve Reich's Different Trains and The Cave * -- by Maarten Beirens * 4. "We are not trying to make a political piece": The Reconciliatory Aesthetic of Steve Reich's The Cave * -- by Ryan Ebright * Part II Repetition, Speech, and Identity * 5. Repetition, Speech, and Authority in Steve Reich's "Jewish" Music * -- by Robert Fink * 6. Steve Reich's Dramatic Sound Collage for the Harlem Six: Towards a Prehistory of Come Out * -- by John Pymm * 7. From World War Two to the "War on Terror": An Examination of Steve Reich's "Docu-Music" Style in WTC 9/11 * -- by Celia Fitz-Walter * Part III Reich Revisited: Sketch Studies * 8. "Save as ... '": Hybrid Resources in the Steve Reich Collection * -- by Matthias Kassel * 9. Sketching a New Tonality: A Preliminary Assessment of Steve Reich's Sketches for Music for 18 Musicians in Telling the Story of This Work's Approach to Tonality * -- by Keith Potter * 10. Improvisation, Two Variations on a Watermelon, and a New Timeline for Piano Phase * -- by David Chapman * 11. Steve Reich's Counterpoints and Computers: Rethinking the 1980s * -- by Twila Bakker * Part IV Beyond the West: Bali, Buddhism and Africa * 12. Afro-Electric Counterpoint * -- by Martin Scherzinger * 13. That's All It Does: Steve Reich and Balinese Gamelan * -- by Michael Tenzer * 14. "Machine Fantasies into Human Events": Reich and Technology in the 1970s * -- by Kerry O'Brien
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