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Steve Reich: Music as a Gradual Process Part II
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Steve Reich: Music as a Gradual Process Part II (1981)Steve Reich: Music as a Gradual Process P…Music and Mathematics: Processing Repetition Techniques with the Least Common Multiple (LCM) in Rajékan Music Composition (2023)Music and Mathematics: Proces…Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style (2021)Periodicity-Based Description…Reich on Tape: The Performance ofViolin Phase (2017)Reich on Tape: The Performanc…‘New Chaconnes for Old?’ Steve Reich’s Sketches for Variations for Winds, Strings and Keyboards, with Some Thoughts on Their Significance for the Analysis of the Composer’s Harmonic Language in the Late 1970s (2017)‘New Chaconnes for Old?’ Stev…Overt and Hidden Processes in 20th Century Music (2003)Overt and Hidden Processes in…Repeating Ourselves (2005)Repeating ourselves: American minimal music as cultural practice (2006)Actor-Networks in Music History: Clarifications and Critiques (2014)Anne Teresa De Keersmaeker’sViolin Phaseand the Experience of Time, or Why Does Process Music Work? (2021)Four musical minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (2001)Musical Witness and Holocaust Representation (2015)Performance Practice in the Music of Steve Reich (2016)Maximally Even Sets (1991)Representing African Music: Postcolonial Notes, Queries, Positions (2004)The geometry of musical rhythm: what makes a “good” rhythm good? (2014)Pattern Structure and Process in Steve Reich's Piano Phase (1986)Cognition and creativity (1995)Writings on Music 1965–2000 (2004)
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Cited by

  • 2003Overt and Hidden Processes in 20th Century Music6 cited
  • 2021Periodicity-Based Descriptions of Rhythms and Steve Reich's Rhythmic Style5 cited
  • 2017Reich on Tape: The Performance ofViolin Phase4 cited
  • 2023Music and Mathematics: Processing Repetition Techniques with the Least Common Multiple (LCM) in Rajékan Music Composition3 cited
  • 2017‘New Chaconnes for Old?’ Steve Reich’s Sketches for Variations for Winds, Strings and Keyboards, with Some Thoughts on Their Significance for the Analysis of the Composer’s Harmonic Language in the Late 1970s2 cited

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