Terry Riley's In C
Setting the stage for a most intriguing journey into the world of minimalism, Robert Carl's Terry Riley's In C argues that the work holds its place in the canon because of the very challenges it presents to "classical" music. Carl examines In C in the context of its era, its grounding in aesthetic practices and assumptions, its process of composition, presentation, recording, and dissemination.
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Aeolian aesthetic analysis aspects audience Author interview chapter clarinet classical Columbia composer composition concert continuum figure create critical David Behrman David Rosenboom Dorian duration eighth emerging ensemble experience final Four American Minimalists Francisco Tape Music Frankenstein gesture guitar Halprin harmonic hear important improvisation Ingram Marshall instruments interview with Terry jazz Jon Gibson La Monte Young listening looping Loren Rush materials minutes modal Module 35 Morton Subotnick motives move musicians notated notes Orchestra patterns Pauline Oliveros percussion performance perhaps pianist piano piece pitch players playing practice premiere recording Pulse q ¼ quartet Ramon Sender realize rehearsal Reich remembers repetition result rhythm rhythmic Riley’s Rosenboom San Francisco Tape saxophone score seems Sender sense solo soprano saxophone sort sound Steve Reich string structure Stuart Dempster Tape Music Tape Music Center tempo Terry Riley texture there’s thing tones traditional unison work’s Young