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As the composer himself put it: ‘The overall texture is made up entirely of multiples of the same timbre, which texture highlights the overall contrapuntal web with its many resulting patterns which the listener can hear’.1 Using the semiotic tripartional model adapted for music by Jean-Jacques Nattiez as a methodological basis, the main aim of this thesis is to trace aspects of the Counterpoints through their neutral, esthesic, and poietic levels in order to offer insights into this often overlooked area of Reich’s oeuvre. Steve reich vermont counterpoint pdf online. Independently each level of analysis offers a unique angle from which to view the Counterpoints.
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