“I discovered that the most interesting music of all was made by simply lining the loops in unison, and letting them slowly shift out of phase with each other…”
Source: Steve Reich, Paul Hillier (2002) Writings on Music, 1965-2000, p. 20
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Steve Reich 3
American composer 1936Related quotes

Opening address to the Commonwealth Parliamentary Association conference in Nadi, 6 September 2005.
Source: In Defence Of Politics (Second Edition) – 1981, Chapter 1, The Nature Of Political Rule, p. 18.

Federalist No. 10
1780s, Federalist Papers (1787–1788)

Literature and Ethics, entry for 1901
Journals 1889-1949

"Unspeakable Things Unspoken: The Afro-American Presence in American Literature" in Michigan Quarterly Review 28, no. 1 (Winter 1989)
Context: Beginning Beloved with numerals rather than spelled out numbers, it was my intention to give the house an identity separate from the street or even the city... Numbers here constitute an address, a thrilling enough prospect for slaves who had owned nothing, least of all an address. And although the numbers, unlike words, can have no modifiers, I give these an adjective — spiteful… A few words have to be read before it is clear that 124 refers to a house … and a few more have to be read to discover why it is spiteful, or rather the source of the spite. By then it is clear, if not at once, that something is beyond control, but is not beyond understanding since it is not beyond accommodation by both the "women" and the "children." The fully realized presence of the haunting is both a major incumbent of the narrative and sleight of hand. One of its purposes is to keep the reader preoccupied with the nature of the incredible spirit world while being supplied a controlled diet of the incredible political world. … Here I wanted the compelling confusion of being there as they (the characters) are; suddenly, without comfort or succor from the "author," with only imagination, intelligence, and necessity available for the journey. …. No compound of houses, no neighborhood, no sculpture, no paint, no time, especially no time because memory, pre-historic memory, has no time. There is just a little music, each other and the urgency of what is at stake. Which is all they had. For that work, the work of language is to get out of the way.