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引用次数: 4
摘要
Steve Reich的《拍手音乐》(1972)的节奏在他的许多作品中都有体现,可以理解为一种节奏特征。节奏品质理论使我们能够识别标志性节奏的显著特征,并将其与其他循环节奏联系起来,如中/西非的“标准模式”,它可能起源于此。节奏性来源于离散傅立叶变换,其数学特性使该理论特别稳健。卷积定理描述的一个性质预测了赖希各种节奏准则的影响。我将这一理论应用于《木头碎片的音乐》(1973年)和《名古屋·马里姆巴斯》(1994年)。
Steve Reich’s Signature Rhythm and an Introduction to Rhythmic Qualities
The rhythm of Steve Reich’s Clapping Music (1972) features in so many of his pieces that it can be understood as a rhythmic signature. A theory of rhythmic qualities allows us to identify the signature rhythm’s significant features and relate it to other cyclic rhythms like the Central/West African “standard pattern,” from which it probably originates. Rhythmic qualities derive from the discrete Fourier transform, whose mathematical properties make the theory particularly robust. One property, described by the convolution theorem, predicts the effects of Reich’s diverse rhythmic canons. I apply the theory to Music for Pieces of Wood (1973) and Nagoya Marimbas (1994).
期刊介绍:
A leading journal in the field and an official publication of the Society for Music Theory, Music Theory Spectrum features articles on a wide range of topics in music theory and analysis, including aesthetics, critical theory and hermeneutics, history of theory, post-tonal theory, linear analysis, rhythm, music cognition, and the analysis of popular musics. The journal welcomes interdisciplinary articles revealing intersections with topics in other fields such as ethnomusicology, mathematics, musicology, philosophy, psychology, and performance. For further information about Music Theory Spectrum, please visit the Society for Music Theory homepage.