Steve Reich Different Trains Score Pdf Download WORK
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In the App, the device takes the part of the performer playing the static pattern and the player of the game takes the part of the performer making the pattern transitions. The game was designed so that you do not need musical training to play, for example representing quaver beats and rests through full or empty circles rather than musical notation. Rather than clapping, players tap in a performance area in the lower part of the screen. This was due to considerations of latency related to device microphones, and the need to isolate the clap from other sounds if the game was played in a noisy environment. Tapping also enables the game to be played using headphones without adding noise to the environment, maximising playing opportunities. Tapping, like clapping, is a discrete movement with tactile feedback but the absence of auditory feedback could make it more difficult to synchronise with the static pattern. A study investigating the role of movement in synchronisation to music found that participants were less able to synchronise with musical stimuli through bouncing than clapping, perhaps due to the absence of auditory and tactile feedback [12]. As a result, in the App each tap is represented audibly by a sampled clap sound so that the player can hear their tapping against the sound of the static pattern and get a feel for the ensemble performance. Clap sounds were sampled from the performance recording of David Hockings and Toby Kearney that appeared in the App (see Fig 2). McAdams et al. [13] describe a streaming effect, where two different patterns played simultaneously cannot be perceived separately, under certain conditions (see also [14]). The performance directions in the Clapping Music score indicate that this is a desirable effect:
In C consists of 53 short numbered musical phrases, lasting from half a beat to 32 beats; each phrase may be repeated an arbitrary number of times at the discretion of each musician in the ensemble. Each musician thus has control over which phrase they play, and players are encouraged to play the phrases starting at different times, even if they are playing the same phrase. In this way, although the melodic content of each part is predetermined, In C has elements of aleatoric music to it.[6] The performance directions state that the musical ensemble should try to stay within two to three phrases of each other. The phrases must be played in order, although some may be skipped. As detailed in some editions of the score, it is customary for one musician (\"traditionally... a beautiful girl,\" Riley notes in the score)[7] to play the note C in repeated eighth notes, typically on a piano or pitched-percussion instrument (e.g. marimba). This functions as a metronome and is referred to as \"The Pulse\". Steve Reich introduced the idea of a rhythmic pulse to Riley, who accepted it, thus radically altering the original composition by Riley which had no pre-determined rhythm.[8] 153554b96e
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