Voice,Technē, andJouissanceinMusic for 18 Musicians

Abstract

AbstractIn this article, I propose that Steve Reich takes on the voice as a problem, and that his solutions to this problem are manifold, informing – perhaps driving – works from across his oeuvre. A close reading of his music and commentary indicates that he is motivated by reinvigorating what I call the ‘vocal imaginary’ of Western classical music, or the connection between melody, voice, and human presence. My argument unfolds in four parts. First, I read closely Reich's writings and interviews that illuminate this problem. Second, I turn an analytic lens on two works composed before and afterMusic for 18 Musicians, respectively –It's Gonna RainandTehillim– to see how it plays out in music. Third, I focus on a close reading ofMusic for 18 Musicians. Finally, I close with some thoughts about how Reich's relationship with the voice might complicate his professed relationship with modernism, calling into question his adversarial stance vis-à-vis modernist practice.