92. Steve Reich

What this episode covers

Uno de los grandes pioneros del minimalismo, escucha a Bach y se forma en el jazz antes del descubrir el gamelán y la música africana. Experto en la exploración del ritmo y la métrica a través de una instrumentación mínima, se sirve de la cinta magnética para convertir el loop en recurso narrativo._____Has escuchadoDifferent Trains. 2. Europe: During the War (1988). Kronos Quartet. Elektra Nonesuch (1989)Drumming. Part I (1971). Steve Reich and Musicians. Elektra Nonesuch (1987)Four Organs (1970). Bang on a Can. Elektra Nonesuch (2000)Music for 18 Musicians (1976). Steve Reich and Musicians. Elektra Nonesuch (1978)Proverb (1995). Theatre of Voices; The Steve Reich Ensemble. Nonesuch (1996)_____Selección bibliográficaBODON-CLAIR, Jérôme, Le langage de Steve Reich. L’exemple de “Music for 18 musicians” (1976). Harmattan, 2008COHN, Richard, “Transpositional Combination of Beat-Class Sets in Steve Reich’s Phase-Shifting Music”. Perspectives of New Music, vol. 30, n.º 2 (1992), pp. 146-177*CUMMING, Naomi, “The Horrors of Identification: Reich’s Different Trains”. Perspectives of New Music, vol. 35, n.º 1 (1997), pp. 129-152*FOX, Christopher, “Steve Reich’s Different Trains”. Tempo, n.º 172 (1990), pp. 2-8*GOPINATH, Sumanth y Pwyll ap Siôn (eds.), Rethinking Reich. Oxford University Press, 2019HARTENBERGER, Russell, Performance Practice in the Music of Steve Reich. Cambridge University Press, 2016*HOEK, D. J., Steve Reich: A Bio-Bibliography. Greenwood, 2001JOHNSON, Timothy A., “Minimalism: Aesthetic, Style, or Technique?”. The Musical Quarterly, vol. 78, n.º 4 (1994), pp. 742-773*NYMAN, Michael, “Steve Reich”. The Musical Times, vol. 112, n.º 1537 (1971), pp. 229-231*PASTRE, Guillaume, Un art de la cohérence: “Different trains”, Steve Reich. L’Harmattan, 2018POTTER, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge University Press, 2002*REICH, Steve, Writings on Music 1965-2000. Editado por Paul Hillier. Oxford University Press, 2002*—, Conversations. Hanover Square Press, 2022ROEDER, John, “Beat-Class Modulation in Steve Reich’s Music”. Music Theory Spectrum, vol. 25, n.º 2 (2003), pp. 275-304*SCHWARZ, David, “Listening Subjects: Semiotics, Psychoanalysis, and the Music of John Adams and Steve Reich”. Perspectives of New Music, vol. 31, n.º 2 (1993), pp. 24-56*SCHWARZ, K. Robert, “Steve Reich: Music as a Gradual Process: Part I”. Perspectives of New Music, vol. 19, n.º 1-2 (1980), pp. 373-392*—, “Steve Reich: Music as a Gradual Process Part II”. Perspectives of New Music, vol. 20, n.º 1-2 (1981), pp. 225-286*   *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

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