Abstract

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).

中文翻译：

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史蒂夫·赖希（Steve Reich）的签名节奏和节奏特质简介

摘要

史蒂夫·里希（Steve Reich）的《拍手音乐（Clapping Music）》（1972）的节奏在他的许多作品中都具有特色，可以理解为节奏的标志。节奏品质理论使我们能够识别签名节奏的重要特征，并将其与其他循环节奏（例如起源于中/西非的“标准模式”）相关联。有节奏的品质来自离散傅立叶变换，其数学特性使该理论特别坚固。卷积定理描述的一种性质，预示着Reich多样的节奏典范的效果。我将该理论应用于《木片音乐》（1973年）和《名古屋·马林巴斯》（1994年）。