steve reich's tehillim, a brief discussion, by payman akhlaghi, music composition graduate paper,...
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degree of MA./PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
Page 1 of 18
www.ComposerPA.com
2000, 2012, Payman Akhlaghi. All rights reserved
The present paper is published as it was at the time of submission, aside from minorformatting modifications. Score samples are not provided with this edition.
P.A., 2012
A Brief Discussion of
Steve Reichs
Tehillim
By: Payman Akhlaghi
Music 266B
Prof. David S. Lefkowitz
Winter 2000
UCLA
(*) March 23, 2000
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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2000, 2012, Payman Akhlaghi. All rights reserved.
Introduction
Tehillim (1981) is an intriguing piece amongst Steve Reichs entire oeuvre. While
its origins might be traced back to Reichs earlier compositions, which had primarily
employed the so- called phasing technique as their main structural device, Tehillim
manifests more a departure from, than a continuation of, the phase period. Besides,
Tehillim seems as important within the general context of the post-modern minimalist
trends of the 80s and beyond. Yet, because of its multifaceted musical conception, it
does not lend itself easily to a dichotomic stylistic categorization, i.e. its hard to place
Tehillim with much exactitude within either Reichs own brand of modernist-minimalism
(or minimalist-modernism), or the post-modern musical world of the time. With Tehillim,
Reich clearly leaves behind the primacy of process and the supremacy of rhythm alone,
two of the conspicuous features of his earlier music, and instead, he embraces a more
comprehensive view of the compositions sound-world, by devising longer melodic lines
and rhythmic patterns (as opposed to the previously short fragments), timbral diversity
(as opposed to his earliest mono-chromatic compositions), globally traditional formal
considerations (a 4 part structure, with a sequence of fast-fast-slow-fast tempi,
reminiscent of the symphonic tradition), and quite importantly, by employing multiple
singing lines and formalized text. Also, Tehillim does not show an attempt to absolutely
reject extra musical references, or connotations, while at the same time, it does make a
conscious effort to deny them of finding an overwhelming prominence. In this way, the
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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2000, 2012, Payman Akhlaghi. All rights reserved.
music tries to avoid the danger of compromising its own internal syntactical integrity.
The enchanting world or Tehillim seems to be both accessible enough for the initiated
listener, and sophisticated enough for the mature musician. With Tehillim, Reich
officially acknowledges the role of the audience and its natural needs and limitations, to
be as important as the composers intentions and ideals, as well as the
performer[s]competency and devotion. The present paper tries to reach a tentative
conclusion on Tehillims stylistic niche in the music of the late twentieth century, through
the presentation of some general background data, an analytical survey of the piece, a
comparative study of the works salient characteristics against some of the sources to
which it seems to refer, or from which its seems to draw, and an overall conclusion. Since
Tehillims main theme resonates with some aspects of the composers personal and
spiritual life, it seems prudent to first draw our attention to some pertinent biographical
details.
Background
Steve Reich was born in 1936, New York, from Jewish parents of European
decent, who were soon divorced. He recounts J. S. Bach, Stravinsky, and the jazz of the
forties (e.g. Miles Davis) as his earliest influential musical discoveries. A percussionist
from the age of 14, he received his bachelor in philosophy, and only then decided to
devote himself entirely to music. Soon he met Phillip Glass at Julliard, and went on to
study with Luciano Berio, one of the few icons of high modernism. Later, he diligently
studied West African drumming, as well as the Gamelan music, drawing ideas and
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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inspirations from both for his future compositions, without falling into the trap of direct
imitation. An earlier contact with the emerging Terry Reiley, and in particular,
participating in the premiere of In C, had already led him to the development of the basic
principles of phasing.
Its Gonna Rain (1965) and Come Out (1966) represent two outstanding concrete
pieces of Reichs earliest mature style. One (or more) short patterns of recorded spoken
word with a discernible melodic contour, and certainly a clear rhythmic character, begin
in unison with themselves, and gradually go out of phase, i.e. desynchronize. The
contrapuntal result becomes further complicated as more tracks are added. In
retrospective, the technique seems to have been essentially rooted in the modernist
attitude toward the pre-compositional decisions, despite apparent differences, such as the
source material or the more or less mathematical functions that are employed in such
music. Here, too, a function, which consists of the perceptible process of systematic
desynchronization, is applied to a short rhythmic (or melodic) pattern, in order to
generate a structurally coherent musical composition. Yet, at the same time, this unique
process itself, can be viewed as an extension of the centuries long canonic technique.
Later on, Piano Phase (1967) through Drumming (1971) show an increasingly
mature application of the technique in the live medium. The music of this period, because
of its extreme economy of the source material, has come to be known as Reich minimalist
music.
Yet, Reich was soon to reject his previous conviction, that of the primacy of the
process, adopting a less didactic (his word) notion, which eventually resulted in Music
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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Yet, despite the adoption of the technique by almost all Jewish congregations,
today the modes and the melodies are region specific. Furthermore, while the singing
tradition of the Pentateuch has been generally preserved, this has not been the case for the
tradition of Psalm singing. Nevertheless, this process of creating long melodic lines out
of a set of smaller fragments, in different orders, proved fruitful to Reichs upcoming
composition.
The Jewish Bible, and specially the Psalms, are also abundant with musical
references, from the names of the instruments to certain musical occasions. Altogether, it
seems understandable that Reich would decide to choose the text of his first vocal
composition in years, from his newly cherished Jewish liturgy.
Tehillim (1981)
The word is the Hebrew plural for Tehillah, meaning Psalms. The text ofTehillim
consists of selected verses from four different Psalms, with specially the last one (No.
150) being well known, at least because it has been set to music by almost any Western
spiritual composer. (For a translation of the text see Attachment 1.)
In his preface to the score, Reich mentions that while the choice of the
instruments responds to the text, such as the percussions (Tof, Sounding Cymbals, and
Clanging cymbals), clapping, the wind (Ugav), the strings (Minim), and certainly, the
human voice, no other musicological association has been intended. He also says that he
has preferred the text of the Psalms over the Pentateuch, because unlike the latter, there
is [almost] no surviving living oral tradition of the former, thus allowing him to compose
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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melodies freely, without a living oral tradition to imitate or ignore. (Reich, 1981,
Preface to the score).
However, after hearing the music, one can assert that, nevertheless, the text and
the music have formed a mutually responsive association. To begin, the text is ordered in
such a way that a satisfying sequence of tempi (fast-fast-slow-fast) could be employed,
while the tempo, and the atmosphere of each Part (movement) would still faithfully
reflect the general sentiment of each excerpt. The music of the first, second, and the
fourth Parts sound in accordance with the joy and the awe of praising God by the world
(I), the bright message of longevity and good fate (II), and the jubilance of the invitation
to praise God with music (IV). On the other hand, Part III assumes a darker modal
atmosphere, as the writer prays directly to God, somewhat asking for His mercy and
forgiveness.
Moreover, as Reich says, the meter of music here comes directly from the
rhythm of the Hebrew text and is consequently in flexible, constantly changing meters.
(ibid). Indeed, the music is mostly so, rarely deviating from the natural stress and
inflection of the words. The meter of the piece is made of two basic units of 2 and 3
group of eighth notes, in constantly changing combinations. For the ease of performance,
the score has adopted a conducting line, thus marking the groups of 2 with a vertical
line ( | ), and the groups of 3 with a triangle ( ). (It is not known to me, however, if each
extracted part shows these markings, too.)
Tehillim is scored for 4 amplified womens voices, winds, 2 electronic organs or
synthesizers (non-amplified), percussions, and strings. For the ensemble version the
number of the string players is 1.1.1.1.1., all amplified; in the chamber orchestra version,
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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however, the numbers increase to 6.6.4.4.1, with only the double bass being amplified.
(For a detailed list of the instrumentation see Attachment 2.)
The four singers, as well as the strings, are required to avoid vibrato, the former
clearly instructed to sing as is the way in the performances of the early music. The
dynamic range of all parts is confined mostly to an evenly leveled mezzo forte, with
strings occasionally accenting their attacks. Thus, the dynamic shape of the piece
becomes largely a factor of the contour and register of the melody, the density of the
texture, and the number of instruments playing simultaneously. As Part IV, with its
obvious climactic role arrives, the controlled dynamic plato of the musical parts is mostly
compensated by an increase in tempo, and a call for tutti, where for the first time, the
high pitched piccolo and crotales join the ensemble at rehearsal letter (S), as the
culmination of a gradually additive process. This way of managing the dynamism of the
music has resulted in a haunting understatement of sentiments, itself one f the propelling
forces of the piece, and something that the composer is specifically aware of. (Schwarz,
1996)
Part I starts with a trio of voice 2 (v.2, the lyric soprano) that lays out the entire
first excerpt of the text along a long melodic line, and the joint statement of a long
rhythmic line by clapping 1 (clap.1) and one tuned tambourine (without jingles). Soon,
the clarinet joins the voice in unison, while clap.2/tamb.2 form a rhythmic canon with
clap.1/tamb.1. After another round of verse, v.1, doubled by cl.1, assumes the lead, while
v.2/cl.2 enter canonically. Then, strings join the ensemble, sustaining a matrix of long
chords underneath the melodic and rhythmic activity above them. At (F), an abrupt
change of texture occurs; the clarinets are replaced by two manual organs, strings become
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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silent, and maracas jingling announces the beginning of a four part canon, stated by the
four voices (alto and high soprano added), each doubled in unison by one hand of the
organ players.
Within a few bars, the clap./tamb. rhythmic lines withdraw, and strings resume, as
the texture mainly remains consistent, until at (BB), v.2/cl.1 begin a 23 bar accelerando,
against tamb.1, tamb.2, and maracas, with a texture that recalls the opening of the piece.
An additive process begins, first by the entrance of tamb.3, tamb. 4, and strings, and soon
by v.3/cl.2. But this time, instead of the former canon, they stay in parallel rhythm with
v.2/cl.1, which in effect form consecutive parallel 6ths, 3rds and 4ths below v.2/cl.1. This
technique is reminiscent of the medieval organums and the early modal counterpoint.
Part I ends in a fade out of the voice, while the reduced percussion continue their
rhythmic line in an attacca into the second Part.
The parallelism of v.2 and v.3, this time instead doubled with the double reeds
(ob.1/2, and E.H./Bn., respectively), begins Part II, against the rhythmic line of
clap.1/tamb.1. Son strings, still stating sustained chords, and clap. 2/tamb. 2, with a
contrasting rhythmic pattern, join the ensemble. At (C), for the first time, the voices
withdraw long enough to give the instrumental section a chance to exhibit an extended
prominence. Voices return, this time three, still moving in parallel rhythms, with different
intervallic configurations, mainly implying incomplete triadic structures. Subsequently at
(F), they withdraw again, coming back at (G) through an additive process; first, v. 2 and
v.3 resume a two-part parallelism, and then they are joined by v. 4 through the end of the
movement.
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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Part III is perhaps the most different of all. Here, in a responsive fashion that
perhaps recalls the antiphonal liturgical tradition, common to most Jewish congregations,
as well as the early Christian tradition of Psalmody, v.2 begins by answering v.4 a 5 th
below. This clearly provides the consequent of the first melodic phrase, while it further
clarifies the text, because in this excerpt, the antecedents and consequents of each verse
are further divisible to an antecedent and consequent. The movement is slow, and a dark
modal timbre combines with a mellow percussion section (marimba/vibraphone) to
heighten the effect, while tambourines do not reappear until the very end of the
movement. Clapping is absent too, and it will not come back through the rest of the piece.
Still, the wind and organs, whenever present, continue to double one of the voices in
unison.
Interestingly, strings find a more active role in Part III, eventually uttering
melodic gestures. And in a curiously referential move, as also noted by Schwarz
(1996),the word ee-kaysh (perverse) is painted with a melodic, and then harmonic
Triton, a clear reminiscent of the centuries old view of this interval as the devil in
music, a notion that well continued into the basic principles of the common practice
period. When the four voices reappear, they continue the antiphonal texture of the
opening of the movement, this time with a 2 by 2 grouping, and with more intervallic and
harmonic diversity.
As in Part II, Part III does not use any extended canonic texture beyond the
aforementioned responsive antiphony. Finally, strings melodic ascent to A6, expands the
tessitura of the composition, and prepares the ear for the eventual appearance of C5 in the
high soprano line of Part IV, which arrives after an accelerando/attacca.
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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In the finale, while strings mainly resume providing a sustained harmony against
the rhythmic/melodic activity of the other parts, their occasional attacks give them more
prominence than in the first two Parts. This is while the doubling of the voices with the
wind remains consistent. The general crescendo shape of the movement emerges as a
generally additive process, coupled with an expansion of the vocal range, and an increase
in tempo at (S), gradually take place. Once more, as in Part I, the canonic technique is
employed, though less extensively than in the latter. This I because two relatively long
sections are devoted to a parallel vocal texture, and toward the end, a 2 by 2 response on
the word Halleluiah, recalls the antiphony of Part III. In effect, Part IV seems to be a
symphonic conclusion, recapitulating the preceding Parts, in the basic sense of the word.
Melodic and Harmonic language
Certainly, the overall impression of the melodic language is a modal one.
However, as Schwarz (1996) has mentioned, certain aspects of the melodic line can also
be traced back to the basic principles of the Jewish cantillation. As it was mentioned
before, the general method of singing the Jewish liturgy can be explained as tasteful
chaining of certain pre-set modal/melodic fragments, in different orders, according to the
sequence of the symbolic indication ofteamim. This results in a long-stretched satisfying
melody, which is essentially composed of those shorter fragments. As an example of the
adoption of such technique in Tehillim, lets examine the structure of the opening
melody, in Part I. (See Attachment 3.)
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A Brief Discussion of Steve Reichs Tehillim
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The most striking structural pattern seems to be the cadential D4-E4 (marked as
(a) in the attachment). This pattern consistently occurs at the last two syllables of each
consequent phrase, except for the last (a), where only the antecedent of the verse has
been used. Fragments (b) and (p) have a relatively similar pitch content, as do (d) and (e),
(f) and (g), (j) and (i), (g) and (l). Besides, higher order intervallic and contour relations
can also be observed, as upward and downward 5 ths and 4ths are abundant, in addition to
repetition at different pitch levels (k, c, j), or inversions of the fragments (m, versus k, j,
or c). Although the basic principles of this kind o f melodic construction can be also found
in the works of a more distant composer such as Prokofiev, nevertheless Reichs
application of the technique remains special, because of basing the overall melodic flow
on the natural patterns of speech. As himself has noted (Reich, 1981, Preface to the
Score), the result is a piece based on melody in the basic sense of that word.
Moreover, the length of the melodic line alone is something that had been absent in
Reichs previous works. (This attention to the relationship between speech and music
would ultimately flourish in his future masterpiece, Different Trains (1988).)
A general survey of Part I also reveals the composers special attention to the
interaction of the canonical lines, as the head of melody in the imitating voices becomes
slightly modified (G4 to B 4). This, in addition to the different time lag for each entering
voice, reflects a concern for the clarity of the text, as much as rhythmic considerations.
This controlled modification of the melodic material is in contrast with Reichs earlier
phase pieces, where the secondary sounds were left to emerge entirely as the result of the
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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mere application of the process to the constant basic musical pattern. Such control is
evident throughout all four Parts ofTehillim.
The modal language of the melodies, in combination with the non vib. style of
performance, canons, and the aforementioned use of the Triton in Part III, further indicate
a possibly referential intention to another early tradition of psalmody, i.e. the Gregorian
chant. If we accept Harvard Dictionary of Music, which maintains that some aspects of
the Gregorian chant could be traced back to the oral traditions of the Jewish
congregations, this gesture appears to be even more appropriate (Harvard, 1986; under
Gregorian Chant), although it should be also noted that this idea has been opposed by
some of the other scholars (Grout, 1988; ch. 1, The Early Christian Church.)
Furthermore, the application of rhythmic and intervallic parallelism to the voices,
specially in Parts II and III, seems to be another indication of referential intentions, first
to the medieval practice of organum, which would double the principle melody a 5th
(or
4th
) below. Secondly, however, Tehillims deviation from the rigidity of the organum
system has led it to explore other types of intervallic resolutions, mostly similar to the
later practice of modal counterpoint.
Still, despite the above, the music proves too subtly constructed to allow yielding
itself to a mono-dimensional analysis. Not only the percussive lines (at times, themselves
bringing the earlier phasing technique to mind) add one or more contrasting layers to the
composition, the harmonization of the melodies further enhances a modal ambiguity that
has already been established within the melodies themselves. For example, lets again
consider Attachment 1, this time examining its modal implications. When heard alone, it
is not clear if the melody belongs to which of the following modes, G-dorian, A-
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phrygian, or their plagal modes, D-hypodorian (a.k.a. D-aeolian), and E-hypophrygian
(a.k.a. E-lucrian). The strings' chordal structure only adds to this ambiguity (see
Attachment 4).
The extended tertiary harmony is perhaps a reminder of Reichs earlier influences
by the jazz medium, while his evident mastery of blending these harmonies with the
modal melodies gives the piece a uniquely personal sound.
In another interesting move, the composer manages to diversify harmonic
surrounding of the melodies by modulations that only affect the chordal structures,
without altering the pitches of the melodies. This is evident as the key signatures change
from B to F#, F#-D#, and B , and it is achieved as the pitches of the respective melodic
sections are common to the modulating keys.
In Part II, enharmonic spelling of the melody has allowed for a similar
modulation, with the key signature alternating between 4 flats and 5 sharps, and even
exploring 5 flats, again without affecting the pitch content of the melodies, and again,
while strings are allowed to explore quite audible accidental alterations. The melody
itself, is once more invested with modal ambiguity, as its forms different modal
configurations by the way of changing the implied tonic pitch. For example, the two
contrasting A -ionian and A#-aeolian can be aurally discernible.
Also interestingly enough, the music begins extending syllables over several
pitches, which recalls the mellismatic cantillation, common to both Jewish congregations
and the Gregorian chant. Besides, the cadential points of the phrases begin to elongate,
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e.g. on the word ve-rad-fay-hu, which reminds of the centuries long tradition of
rhythmic augmentation.
Although an exhaustive presentation of Parts III and IV seems to be out of the
scope of this paper, certain observations could prove useful to our discussion. Part III
assumes a darker modality (C#-aeolian), while occasional employment of the raised 6th
or
the lowered 5th (raised 4th) degrees act as chromatically tonicizing devices for the 5th
above. The latter also creates the C#-G Triton, used to paint the word ee-kaysh. (See
above). More remotely chromatic modulations are found in this Part than any o f the other
three. The abundance of harmonic P.4ths and P.5ths in the vocal voice leading and the
strings, further recalls the tradition oforganum (see above). Part IV returns to the original
D-aeolian (?) mode of Part I, while it eventually culminates in a more or less jubilant, yet
ambiguous, D-ionian.
Evaluation
Based on the above observations, it can be said that unlike Reichs earlier
compositions, Tehillim does not fully reject musical connotations, as long as they are
suitable to the overall world of the piece, and more importantly, as long as they do not
jeopardize the internal integrity of the composition. Although a detailed analysis, a
sample of which was provided before, could point out certain traceable influences in
isolation, the overall sound of the work is much more than the sum of its parts. The
presence of long melodic lines, clearly defined rhythmic and melodic layers, a most
controlled textural organization, (to some extent) multi-timbral sonority, and the presence
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A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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of a long stretch of text, are mostly new to Reichs compositional output up to this point.
And despite the aforementioned possibly traditional associations, the sound world of
Tehillim is absolutely distinct from any of those traditions alone.
On the other hand, in certain respects, Tehillim can still be understood as an
extension of Reichs earlier concerns. His experiments with canonic process go back as
early as Its Gonna Rain, Come Out, and the later development of the technique for live
mediums, as in Piano Phase and Drumming. The percussive world ofTehillim owes as
much to the phasing technique as to Reichs earlier exposure to the West African
drumming (the additive process), and Gamelan music (the use of metalophones, in this
case crotales, besides the adoption of a layered structure). Again, the evident interest of
the composer in the relationship between the natural speech and music in Tehillim, which
shows its origins in his earliest compositions, points toward some of his future output,
e.g. Different Trains, and perhaps The Cave (1990-1993). The apparent repetition of basic
patterns relates directly to Reichs modernist-minimalist period.
Dr. David S. Lefkowitz has defined post-modernist music as the one in which
musical artifacts are used for their connotations rather than their denotations. I have
already proposed an essentially similar definition, stating that while modernism could be
viewed as concentrated attention to musical syntax, post-modernism in music is identified
by its primary concern for semantics. I think the second definition eases the adoption of a
less dichotomic categorization by allowing for a continuous spectrum.
Considering all of the above, Id like to think of Tehillim as a precocious child of
what I call The Age of Reconciliation. Tehillim is no more a reaction; it no more hates
the past for the mere sake of internal cohesion, and at the same time, it avoids an
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unbridled eclecticism that would certainly compromise its musical integrity. This highly
structured music, also exhibits an evident concern for the audiences, as well as the
performers, perceptual capacity; beautiful melodies and colorful harmonies, each with
their own modal implications, endow the meticulously constructed skeleton with a
pleasing flesh. Timbral considerations and formal decisions further move the work away
from what Reich has called the didactic aspect of his earlier music. Finally, all of these
combine to relegate the perception of the processes themselves in favor of the overall
sound world of the composition.
In this respect, and at this point, I think Tehillim does not easily fit within a
bipolar categorization of the music of the past two decades. With its roots in modernism,
its manifestations of the post-modern minimalism, and its foreshadowing referential
eclecticism, perhaps Tehillim is a piece of the future, cast in 1981, which will well suit
Dr. Lefkowitzs (and my) view of the future of music, where a successful convergence of
the two poles will be possible. Even if I am exaggerating on the visionary merits of
Tehillim, I still believe that it has succeeded in showing and paving the way toward that
future.
Bibliography
Farmer, H. G., A History of The Arabian Music To The XIII Century, 1929/1967;
tr. to Persian by Bashi, B./ Ch. 1
Grout, D. J., Palisca, C. V., A History Of Western Music, 4th
Ed., 1988; Norton
and Company/ Ch. 1, The Early Christian Church
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A Brief Discussion of Steve Reichs Tehillim
A Graduate Level Research Pa er Submitted Toward the Degrees of MA. & PhD in CompositionAuthor: Payman Akhlaghi Winter 2000, UCLA
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2000 2012 Payman Akhlaghi All rights reserved
Psalms, Original Hebrew Text
Randel, D., Ed., Harvard Dictionary of Music, 1986, Bilknap/Harvard Press;
Under Gregorian chant
Also Quoted In Mansouri, P., The Fundamental Theory Of Music (Persian)
Reich, S., Tehillim (1981), Score; Boosey and Hawkes
Reich, Steve, Tehillim (1994), Sound Recording; Schnberg Ensemble, With The
Percussion Group, The Hague; cond. Reinbert de Leeuw
Schwarz, K. R., Minimalists, 1996; Phaidon Press
Simms, B. R., Music of The Twentieth Century: Style And Structure, Ed. 2, 1996;
Schirmer Books
Watkins, G., Soundings: Music In The Twentieth Century, Ed.1, 1995; Schirmer
Books/Simon and Schuster