Vectoriality and protension vs symmetries and endless processes in minimalist music : some reflections stemming from the analysis of the sketches of Steve Reich's It's Gonna Rain

Giacomo Albert
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Abstract

This article deals with the topic of temporality in Steve Reich’s early works, starting from the analysis of It’s Gonna Rain’s sketches held at the Paul Sacher Stiftung. It will demonstrate that the technique of phasing came out of an idea of composing and decomposing spatial structures, rather than of a simple mistake or of technological needs. The notion of spatialization of music writing, aiming at the creation of temporal perceptual paradoxes, will be put into relationship with a vectorial, but non protensive and endless conception of musical time.
极简主义音乐中的矢量性和延伸性vs对称性和无尽的过程:对Steve Reich的《It’s Gonna Rain》草图分析的一些思考
本文从分析保罗·萨切尔基金会举办的《天要下雨》小品入手,探讨史蒂夫·赖希早期作品中的时间性主题。它将证明,分阶段的技术来自于组合和分解空间结构的想法,而不是一个简单的错误或技术需求。音乐创作的空间化概念,旨在创造时间的感性悖论,将与一个矢量的,但非超前的,无限的音乐时间概念联系起来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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