Drifting apart: Demonstration and analysis of what actually happens in Steve Reich’s ‘Drumming’ Category: Rhythm & Meter Michael Schutz McMaster Institute for Music and the Mind Hamilton, Ontario Russell Hartenberger University of Toronto (Emeritus) Steve Reich and Musicians/NEXUS Steve Reich’s Drumming (1971) asks percussionists to play in synchrony before separating and resynchronizing a full beat later. After decades of performing this work around the world, renowned percussionist Russell Hartenberger began wondering what “really” happens when he is executing this difficult passage. Grounded in an artistic question, this study offers a useful a opportunity, as interpersonal coordination typically explore the ability of actors to intentionally synchronize (i.e., Goebl & Palmer, 2008; Keller, Novembre, & Hove, 2014). Drumming offers a compelling complement to that work by examining highly trained percussionists attempting to intentionally desynchronize. Note onset timings indicate that the “moving” voice averaged 0.25% faster in tempo (approximately .5 ms/beat) than the stationary voice. This small, consistent difference aligns with both the composer’s requests and performers’ intentions. However the separation and re-alignment of the voices was neither smooth nor monotonic. At least one fifth of the cycle repetitions in the nominally “accelerating” voice actually slowed down. The nominally “steady” voice displayed a similar pattern of tempo fluctuations, suggesting a complex pattern of mutual coordination contrary to the performer’s intentions for independence. Additionally, the musicians display a surprising pattern of push and pull despite their stated goals of functioning independently. The complexity of these interactions is best understood through dynamic visualizations, a preview of which is available at www.maplelab.net/reich. As part of this presentation, RH and MS will perform excerpts and RH will discuss his experiences working with Reich on this piece’s premier in 1971. References Goebl, W., & Palmer, C. (2008). Tactile feedback and timing accuracy in piano performance. Experimental Brain Research, 186, 471–479. Keller, P. E., Novembre, G., & Hove, M. J. (2014). Rhythm in joint action: psychological and neurophysiological mechanisms for real-time interpersonal coordination. Philosophical Transactions of the Royal Society of London. Series B, Biological Sciences, 369, 20130394. -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- -- Michael Schutz, Ph.D. Associate Professor of Music Cognition/Percussion, McMaster University Secretary, Society for Music Perception and Cognition Director, MAPLE (Music, Acoustics, Perception & LEarning) Lab: www.maplelab.net Core Member, McMaster Institute for Music and the Mind University Scholar (2019-2023) Contact Information: -- Office: 424 Togo Salmon Hall -- Lab: 422 Togo Salmon Hall -- Web: www.michaelschutz.net -- Email: schutz@mcmaster.ca -- Phone: 905.525.9140, ext 23159 (office); ext 27021 -- Mailing address: 1280 Main St. W. Hamilton Ontario L8S 4M2