Add to ORKGThis chapter also interrogates Reich’s approach to tonality, at a critical stage of his thinking in this area; the focus on Music for 18 Musicians also allows this paper to act as a “pilot study” for my forthcoming book devoted entirely to this work. The volume here is part of a prestigious Oxford University Press series, “Rethinking…”, which aims to offer new lines of research on familiar figures and topics
Many elements of and reflections on tonality are to be found in Vaughan Williams’s music: tonal cen...
Includes abstract and vita.This dissertation argues that Heinrich Schenker's mature analytical techn...
From the early 1980s onwards, Steve Reich’s musical influences evolved. Before the 1980s, he drew fr...
This chapter seeks to develop a fresh understanding of how tonality and harmonic language have evolv...
The rhythm of Steve Reich’s Clapping Music (1972) features in so many of his pieces that it can be u...
The first part of this dissertation examines the pitch language of Charles Ives’ song General Willia...
Tonality during the common-practice era carried conventions that ultimately manifested formal schema...
1965 was a watershed year in the life of Steve Reich. Following numerous experiments with magnetic t...
This article explores the boundaries that lie between analysis and sketch study, as found in two wor...
Before the 20th century, timbre was long ignored for its potential to articulate musical structure i...
Timbre and orchestration are neglected parameters in analytical writing, partly because analysis tra...
Steve Reichs Music for 18 Musicians gehört sicherlich zu den wichtigsten Werken der Musik der zweite...
Recent musicological output has viewed neither the aesthetic concept of organicism nor the methodolo...
This article explores the remarkable tonal qualities of Steve Reich's Nagoya Marimbas . While most o...
The syntax of common practice tonality creates the potential for expansive musical works, with almos...
Many elements of and reflections on tonality are to be found in Vaughan Williams’s music: tonal cen...
Includes abstract and vita.This dissertation argues that Heinrich Schenker's mature analytical techn...
From the early 1980s onwards, Steve Reich’s musical influences evolved. Before the 1980s, he drew fr...
This chapter seeks to develop a fresh understanding of how tonality and harmonic language have evolv...
The rhythm of Steve Reich’s Clapping Music (1972) features in so many of his pieces that it can be u...
The first part of this dissertation examines the pitch language of Charles Ives’ song General Willia...
Tonality during the common-practice era carried conventions that ultimately manifested formal schema...
1965 was a watershed year in the life of Steve Reich. Following numerous experiments with magnetic t...
This article explores the boundaries that lie between analysis and sketch study, as found in two wor...
Before the 20th century, timbre was long ignored for its potential to articulate musical structure i...
Timbre and orchestration are neglected parameters in analytical writing, partly because analysis tra...
Steve Reichs Music for 18 Musicians gehört sicherlich zu den wichtigsten Werken der Musik der zweite...
Recent musicological output has viewed neither the aesthetic concept of organicism nor the methodolo...
This article explores the remarkable tonal qualities of Steve Reich's Nagoya Marimbas . While most o...
The syntax of common practice tonality creates the potential for expansive musical works, with almos...
Many elements of and reflections on tonality are to be found in Vaughan Williams’s music: tonal cen...
Includes abstract and vita.This dissertation argues that Heinrich Schenker's mature analytical techn...
From the early 1980s onwards, Steve Reich’s musical influences evolved. Before the 1980s, he drew fr...