Classical music publishing company Boosey and Hawkes is holding a contest to “ring in” the November 16 all-Steve Reich concert at the Metropolitan Museum of Art (NYC).
Steve Reich is a composer in the classical tradition that helped pioneer electroacoustic music, music as a gradual process and musical minimalism.
The first prize winner will receive the Alarm Will Sound (performing in the video, above) recording of Tehillim / The Desert Music, plus a Drumming mug and Music for 18 Musicians t-shirt. The second prize winner will receive a Drumming mug and Music for 18 Musicians t-shirt. Continue reading
Sunday Synth Jam: This video captures a Groovesizer performance by MoShang of Steve Reich’s Piano Phase.
Brian Eno’s Oblique Strategy, “Repetition is a form of change”, seems apt to describe the more minimal work of Steve Reich, like Piano Phase. The piece explores the sonic possibilities of playing a short sequence against itself in two voices. Continue reading
American minimalist composer (and one of Synthhead’s and my favorites), Steve Reich, celebrates his 77th birthday today.
In the video, above, he considers a cake.
Sunday Synth Jam: Here’s a performance of Steve Reich‘s 1968 process music piece, Pendulum Music, by Simon Acevedo, Mathieu Cart, Simon Paccaud & Olivier Schuppisser.
In Pendulum Music, three or more microphones are suspended by their cables over the speakers that they are connected to. The microphones are set in motion, creating overlapping patterns of feedback. Continue reading
Steve Reich is featured in this interview from The Music Show on ABC Radio National.
Rech has, throughout his career, bounced back and forth between electroacoustic work and music for non-traditional ensembles of traditional instruments.
Developer Gregorio Zanon has announced uPhase+ – a new app for iOS that’s designed to let you improvise with phased sequences.
As shown in the above demo, uPhase lets you play sequences of different lengths against each other, creating complex patterns. This type of canonical phasing is a key element in Steve Reich’s early electronic and acoustic work.
To make things even more interesting, uPhase+ lets you distribute your sequences over a collection of networked iOS devices.
Back in 1967, composer Steve Reich scored a conceptual music piece, Slow Motion Sound. The score reads:
Very gradually slow down a recorded piece to many times its
original length without changing its pitch or timbre at all.
Reich explained Slow Motion Sound like this:
Slow Motion Sound (1967) has remained a concept on paper because it was technologically impossible to realize.
The basic idea was to take a tape loop, probably of speech, and ever so gradually slow it down to enormous length without lowering its pitch. In effect it would have been like the true synchronous sound track to a film loop gradually presented in slower and slower motion.
The roots of this idea date from 1963 when I first became interested in experimental films, and began looking at film as an analog to tape. Extreme slow motion seemed particularly interesting since it allowed one to see minute details that were normally impossible to observe. The real moving image was left intact with only its tempo slowed down.
45 years later, computer technology has made Reich’s concept possible, and R. Luke DuBois the possibilities with Vertical Music, embedded above.
In preparation for the 2012 Bloc Festival, organizers interviewed the headliners, including pioneering electroacoustic and classical composer Steve Reich.
Reich talks about the relationship between West African and Balinese music and his early tape loop music. He goes on to discuss how this affected his early works.
Reich’s work has been tremendously influential in electronic music, and is echoed in works by Tangerine Dream, Mike Oldfield, The Orb and many others.