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Rethinking Reich Rethinking Reich EDITED BY Sumanth Gopinath Pwyll ap Siôn 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2019 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging- in- Publication Data Names: Gopinath, Sumanth S. | Pwyll ap Siôn. Title: Rethinking Reich / edited by Sumanth Gopinath and Pwyll ap Siôn. Description: New York, NY : Oxford University Press, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2018041188 | ISBN 9780190605285 (hardcover : alk. paper) | ISBN 9780190605292 (pbk. : alk. paper) Subjects: LCSH: Reich, Steve, 1936— Criticism and interpretation. | Minimal music— History and criticism. Classification: LCC ML410. R27 R47 2019 | DDC 780.92— dc23 LC record available at https:// lccn.loc.gov/ 2018041188 9 8 7 6 5 4 3 2 1 Paperback printed by Sheridan Books, Inc., United States of America Hardback printed by Bridgeport National Bindery, Inc., United States of America To Beth and Nia, and dedicated to John Thomas Becker (1986– 2017) and Dafydd Tomos Dafis (1958– 2017)— two close friends who were also very talented musicians. They will be missed. Contents Acknowledgments ix Copyright Permissions xi List of Contributors xv Introduction: Reich in Context 1 Sumanth Gopinath and Pwyll ap Siôn I Political, Aesthetic, and Analytical Concerns 1 “Departing to Other Spheres”: Psychedelic Science Fiction, Perspectival Embodiment, and the Hermeneutics of Steve Reich’s Four Organs 19 Sumanth Gopinath 2 “Moving Forward, Looking Back”: Resulting Patterns, Extended Melodies, Eight Lines, and the influence of the West on Steve Reich 53 Pwyll ap Siôn 3 Different Tracks: Narrative Sequence, Harmonic (Dis)continuity, and Structural Organization in Steve Reich’s Different Trains and The Cave 75 Maarten Beirens 4 “We Are Not Trying to Make a Political Piece”: The Reconciliatory Aesthetic of Steve Reich and Beryl Korot’s The Cave 93 Ryan Ebright II Repetition, Speech, and Identity 5 Repetition, Speech, and Authority in Steve Reich’s “Jewish” Music 113 Robert Fink 6 Steve Reich’s Dramatic Sound Collage for the Harlem Six: Toward a Prehistory of Come Out 139 John Pymm vii viii Contents 7. From World War II to the “War on Terror”: An Examination of Steve Reich’s “Docu- Music” Approach in WTC 9/ 11 159 Celia Casey III Reich Revisited: Sketch Studies 8 “Save as . . . »”: Hybrid Resources in the Steve Reich Collection 179 Matthias Kassel 9 Sketching a New Tonality: A Preliminary Assessment of Steve Reich’s Sketches for Music for 18 Musicians in Telling the Story of This Work’s Approach to Tonality 191 Keith Potter 10 Improvisation, Two Variations on a Watermelon, and a New Timeline for Piano Phase 217 David Chapman 11 Steve Reich’s Counterpoints and Computers: Rethinking the 1980s 239 Twila Bakker IV Beyond the West: Africa and Asia 12 Afro- Electric Counterpoint 259 Martin Scherzinger 13 That’s All It Does: Steve Reich and Balinese Gamelan 303 Michael Tenzer 14 “Machine Fantasies into Human Events”: Reich and Technology in the 1970s 323 Kerry O’Brien Works Cited 345 Index 369 Acknowledgments The two editors of this volume would like to thank the following: The Paul Sacher Stiftung, Basel, and all the scholars and staff there, especially Matthias Kassel (curator of the Steve Reich collection), Tina Kilvio Tüscher, and Isolde Degen; Oxford University Press, especially Suzanne Ryan, who provided much- needed guidance, advice, and encouragement from our initial, tenta- tive proposals to the final publication; also Vika Kouznetsov, Lauralee Yeary, Jamie Kim, Adam Cohen, Dan Gibney, Eden Piacitelli and all those at Oxford University Press who have assisted with copyediting and indexing; Christina Nisha Paul (Project Manager for Newgen Knowledge Works), Sangeetha Vishwanthan, Susan Ecklund, and Pilar Wyman; Janis Susskind, Mike Williams and Tyler Rubin at Boosey & Hawkes; Katie Havelock and Matthew Rankin at Nonesuch Records; Livia Necasova at Universal Edition; Philip Rupprecht, Laura Tunbridge, and Marianne Wheeldon, as editors of previous volumes in the Rethinking series for readily sharing valuable advice; Lynda Corey Claassen (Director of Special Collections & Archives at UC San Diego Library), Shelley Freeman; Josh Rutter for his willingness to participate in this project and his contributions to it. The editors also wish to thank all the contributors to this volume for their willingness to respond to requests for changes, corrections and additions; and for their patience throughout the publication process. Sumanth Gopinath wishes to thank friends and family, especially his partner Beth, his parents, Sudhir and Madhura, and his brother, Shamin, for their un- wavering support and love; Pat McCreless, Michael Veal, Michael Denning, Hazel Carby, Paul Gilroy, Robert Morgan, Jim Hepokoski, John MacKay, Greg Dubinsky, Michael Friedmann, Matthew Suttor, and other faculty members who were important influences on his work on Reich while in graduate school; Beth Hartman, Robert Adlington, Jonathan Bernard, Trevor Bača, Seth Brodsky, Thomas Campbell, Michael Cherlin, Eva R. Cohen, James Dillon, Eric Drott, Gabrielle Gopinath, Ted Gordon, Russell Hartenberger, Michael Klein, Matthew McDonald, Leta Miller, Ian Quinn, Rob Slifkin, Jason Stanyek, Vic Szabo, his co- editor and all of the contributors to this volume, all grad- uate students participating in his “Musical Minimalisms” seminar between 2005 and 2018, his colleagues in the music theory division (Matt Bribitzer-S tull, David Damschroder, and Bruce Quaglia) and School of Music at the University of Minnesota, and many other interlocutors on Reich and minimalism over ix
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