Add to ORKGThis chapter seeks to develop a fresh understanding of how tonality and harmonic language have evolved in Steve Reich’s music, with the aid of evidence provided by the composer sketchbooks, recently made available; Triple Quartet is used as a case study here
This article explores the boundaries that lie between analysis and sketch study, as found in two wor...
ix, 308 leaves ; 30 cm. Includes bibliographical references. University of Otago department: Music.T...
Before the 20th century, timbre was long ignored for its potential to articulate musical structure i...
This chapter also interrogates Reich’s approach to tonality, at a critical stage of his thinking in ...
The rhythm of Steve Reich’s Clapping Music (1972) features in so many of his pieces that it can be u...
This article explores the remarkable tonal qualities of Steve Reich's Nagoya Marimbas . While most o...
This dissertation examines pattern perception and temporality in the music of Steve Reich. The resea...
1965 was a watershed year in the life of Steve Reich. Following numerous experiments with magnetic t...
109 p.Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2005.Magnus Lindberg (b. 1958) de...
From the early 1980s onwards, Steve Reich’s musical influences evolved. Before the 1980s, he drew fr...
The first part of this dissertation examines the pitch language of Charles Ives’ song General Willia...
This study deals with the processes of tonal counterpoint inherent in the songs of Schoenberg's Opus...
That mid-to-late nineteenth-century chromatic tonality challenges diatonic-based prolongational mode...
A theory of harmony plays a determinant role in the epistemology of tonal structure in music of the ...
Cohn (1996) and Taruskin (1985) consider the increasing prominence during the nineteenth century of ...
This article explores the boundaries that lie between analysis and sketch study, as found in two wor...
ix, 308 leaves ; 30 cm. Includes bibliographical references. University of Otago department: Music.T...
Before the 20th century, timbre was long ignored for its potential to articulate musical structure i...
This chapter also interrogates Reich’s approach to tonality, at a critical stage of his thinking in ...
The rhythm of Steve Reich’s Clapping Music (1972) features in so many of his pieces that it can be u...
This article explores the remarkable tonal qualities of Steve Reich's Nagoya Marimbas . While most o...
This dissertation examines pattern perception and temporality in the music of Steve Reich. The resea...
1965 was a watershed year in the life of Steve Reich. Following numerous experiments with magnetic t...
109 p.Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2005.Magnus Lindberg (b. 1958) de...
From the early 1980s onwards, Steve Reich’s musical influences evolved. Before the 1980s, he drew fr...
The first part of this dissertation examines the pitch language of Charles Ives’ song General Willia...
This study deals with the processes of tonal counterpoint inherent in the songs of Schoenberg's Opus...
That mid-to-late nineteenth-century chromatic tonality challenges diatonic-based prolongational mode...
A theory of harmony plays a determinant role in the epistemology of tonal structure in music of the ...
Cohn (1996) and Taruskin (1985) consider the increasing prominence during the nineteenth century of ...
This article explores the boundaries that lie between analysis and sketch study, as found in two wor...
ix, 308 leaves ; 30 cm. Includes bibliographical references. University of Otago department: Music.T...
Before the 20th century, timbre was long ignored for its potential to articulate musical structure i...