In 1960 to 70’s, a bunch of electronic instrument was overflowed in western music world. Many musician started experiment using the electronic instrument as a new method of composition. It was no exception to Steve Reich. Steve Reich, who had disavowed getting interested in and composing classical music, innovated playing tape loop as a significant role in his music. In the most of his music of the late 1960, the ‘phasing process’ - two tape loops of the same recorded phrase are played at the same time, and slowly those tape loops become being out of synchronizing by giving different lengths of the two loops - was worked for the basis composition’s technique for the tape loop and eventually, this composition method gave birth to two pieces,
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The harmonies of the piece remain constant and the positions of the players' hands on the keyboard also remain unchanged. The only variable being the alignment of the paradiddle is drawn between the four performers. As the downbeats on which the various players' paradiddle becomes shift, the overall harmony is filtered through a continually changing surface texture. Even though the ‘phase pattern’ piece was based on the western rudimental drumming pattern played by keyboard, it affected him to get a bigger interest in African music since the drumming originally emerged from the African music and have been a chief role as main …show more content…
One of the ways he found out was taking non-Western instrument in western music or making sound like non-Western sound by using western musician’s instrument. This method was the simplest and most superficial way of dealing with non-Western music. Nevertheless, Steve was not interested in taking over the sound of the non-western music into his music. It was nothing more than just imitating for him. The best way to incorporate with non-western music to him was that he would study the rhythmic structure of African music and apply it for his music rather than going to buy a bunch of exotic looking instrument and setting up African-ish music in New York. He believed that if the influence of non-Western musical structures would pervade into the western composers’ thought and their works adequately, it would provoke much more interesting and veritable form of influence instead of just imitating their
The harmonies of the piece remain constant and the positions of the players' hands on the keyboard also remain unchanged. The only variable being the alignment of the paradiddle is drawn between the four performers. As the downbeats on which the various players' paradiddle becomes shift, the overall harmony is filtered through a continually changing surface texture. Even though the ‘phase pattern’ piece was based on the western rudimental drumming pattern played by keyboard, it affected him to get a bigger interest in African music since the drumming originally emerged from the African music and have been a chief role as main …show more content…
One of the ways he found out was taking non-Western instrument in western music or making sound like non-Western sound by using western musician’s instrument. This method was the simplest and most superficial way of dealing with non-Western music. Nevertheless, Steve was not interested in taking over the sound of the non-western music into his music. It was nothing more than just imitating for him. The best way to incorporate with non-western music to him was that he would study the rhythmic structure of African music and apply it for his music rather than going to buy a bunch of exotic looking instrument and setting up African-ish music in New York. He believed that if the influence of non-Western musical structures would pervade into the western composers’ thought and their works adequately, it would provoke much more interesting and veritable form of influence instead of just imitating their