This title provides a collection of the composer Steve Reich's writings on music, from his classic essay from 1968 on "Music as a Gradual Process," which was the founding call for the development of minimalism, to his work on non-western musics such as the Balinese and African music that contributed to "Drumming" and other compositions. INTRODUCTION 3(66) 1 EARLY WORKS (1965-68) 19(14) IT'S GONNA RAIN (1965) 19(3) COME OUT-MELODICA-PIANO PHASE (1966-67) 22(4) VIOLIN PHASE (1967) 26(1) SLOW MOTION SOUND (1967) 26(3) MY NAME IS (1967) 29(2) PENDULUM MUSIC (1968) 31(2) 2a EXCERPTS FROM AN INTERVIEW IN ART FORUM 33(1) 2b MUSIC AS A GRADUAL PROCESS (1968) 34(2) 3 WAVELENGTH BY MICHAEL SNOW (1968) 36(2) 4 THE PHASE SHIFTING PULSE GATE-FOUR ORGANS-PHASE PATTERNS-AN END TO ELECTRONICS (1968-70) 38(13) 5 SOME OPTIMISTIC PREDICTIONS (1970) ABOUT THE FUTURE OF MUSIC 51(1) 6 FIRST INTERVIEW WITH MICHAEL NYMAN (1970) 52(3) 7 GAHU-A DANCE OF THE EWE TRIBE IN GHANA (1971) 55(8) 8 DRUMMING (1971) 63(5) 9 CLAPPING MUSIC (1972) 68(1) 10 POSTSCRIPT TO A BRIEF STUDY OF BALINESE AND AFRICAN MUSIC (1973) 69(2) 11 NOTES ON MUSIC AND DANCE (1973) 71(2) 12 SIX PIANOS (1973) 73(3) 13 MUSIC FOR MALLET INSTRUMENTS, VOICES, AND ORGAN (1973) 76(2) 14 MUSIC FOR PIECES OF WOOD (1973) 78(1) 15 STEVE REICH AND MUSICIANS (1973) 78(3) 16 MUSIC AND PERFORMANCE (1969-74; 1993) 81(1) 17a VIDEOTAPE AND A COMPOSER (1975) 82(3) 17b DACHAU 1974, BY BERYL KOROT 85(2) 18 MUSIC FOR 18 MUSICIANS (1976) 87(4) 19 SECOND INTERVIEW WITH MICHAEL NYMAN (1976) 91(6) 20 MUSIC FOR A LARGE ENSEMBLE (1978) 97(1) 21 OCTET (1979) 98(1) 22 VARIATIONS FOR WINDS, STRINGS, AND KEYBOARDS (1979) 99(1) 23 TEHILLIM (1981) 100(5) 24 HEBREW CANTILLATION AS AN INFLUENCE ON COMPOSITION (1982) 105(14) 25 VERMONT COUNTERPOINT (1982) 119(1) 26 EIGHT LINES (1983) 119(1) 27 THE DESERT MUSIC (1984) 120(7) NOTE BY THE COMPOSER 120(5) TEXT BY WILLIAM CARLOS WILLIAMS 125(2) 28 THEDESERTMUSIC - STEVE REICH IN CONVERSATION WITH JONATHAN COTT (1984) 127(4) 29 SEXTET (1985) 131(4) 30 NEW YORK COUNTERPOINT (1985) 135(1) 31 THREE MOVEMENTS (1986) 136(1) 32 SIX MARIMBAS (1986) 137(1) 33 TENNEY (1986) 137(2) 34 TEXTURE-SPACE-SURVIVAL (1987) 139(5) 35 THE FOUR SECTIONS (1987) 144(1) 36 ELECTRIC COUNTERPOINT (1987) 145(2) 37 NON-WESTERN MUSIC AND THE WESTERN COMPOSER (1988) 147(4) 38 DIFFERENT TRAINS (1988) 151(5) 39 CHAMBER MUSIC-AN EXPANDED VIEW (1989) 156(2) 40 QUESTIONNAIRE (1989) 158(4) 41 ON THE SIZE AND SEATING OF AN ORCHESTRA (1990) 162(2) 42 AARON COPLAND (1990) 164(1) 43 JOHN CAGE (1992) 165(1) 44 KURT WEILL, THE ORCHESTRA, AND VOCAL STYLE-AN INTERVIEW WITH K. ROBERT SCHWARZ (1992) 166(2) 45 THE CAVE (1993) A NEW TYPE OF MUSIC THEATER WITH BERYL KOROT SYNOPSIS 168(3) 46 JONATHAN COTT INTERVIEWS BERYL KOROT AND STEVE REICH ON THE CAVE (1993) 171(7) 47 THOUGHTS ABOUT THE MADNESS IN ABRAHAM'S CAVE (1994) WITH BERYL KOROT 178(2) 48 ANSWERS TO QUESTIONS ABOUT DIFFERENT TRAINS (1994) 180(3) 49 DUET (1994) 183(1) 50 NAGOYA MARIMBAS (1994) 184(1) 51 THE FUTURE OF MUSIC FOR THE NEXT 150 YEARS (1994) 184(1) 52 BEAUTIFUL/UGLY (1994) 185(1) 53 SCHONBERG (1995) 186(1) 54 CITY LIFE (1995) 187(4) 55 PROVERB (1995) 191(2) 56 MUSIC AND LANGUAGE (1996) 193(9) 57 FELDMAN (1997) 202(1) 58 BERIO (1997) 203(1) 59 THREE TALES (1998-2002) WITH BERYL KOROT 204(4) 60 TRIPLE QUARTET (1999) 208(3) 61 KNOW WHAT IS ABOVE YOU (1999) 211(1) 62 TWO QUESTIONS ABOUT OPERA (1999) 211(1) 63 LIGETI (2000) 212(1) 64 DE KEERSMAEKER, KYLIAN, AND EUROPEAN DANCE (2000) 213(3) 65 STEVE REICH IN CONVERSATION WITH PAUL HILLIER (2000) 216(26) TEXT CREDITS 242(1) BIBLIOGRAPHY 243(4) INDEX 247