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Steve Reich and Hebrew Cantillation Author(S): Antonella Puca Source: the Musical Quarterly, Vol Steve Reich and Hebrew Cantillation Author(s): Antonella Puca Source: The Musical Quarterly, Vol. 81, No. 4 (Winter, 1997), pp. 537-555 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/742285 Accessed: 03-10-2018 20:46 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly This content downloaded from 129.74.250.206 on Wed, 03 Oct 2018 20:46:38 UTC All use subject to https://about.jstor.org/terms The Twentieth Century Steve Reich and Hebrew Cantillation Antonella Puca Among the composers of the American avant-garde, Steve Reich is one of the most strongly aware of his cultural and ethnic roots. His interest in Hebrew cantillation dates from the mid-1970s and is accompanied by the rediscovery of his own Jewish background, by the study of the Hebrew language and of the Hebrew Bible, and by extended periods of residence in Israel. My paper considers the influence of Hebrew cantillation on Reich's compositional techniques and on his approach to the relation between words and music in his works from the 1980s and early 1990s. In his early tape pieces from the 1960s, Reich uses speech samples in such a way that they lose their original linguistic connotation. I argue that in the works that Reich composed after his studies of Hebrew can- tillation, the preservation of the semantic meaning of the words becomes for him a central concern, and that sound aspects of spoken language, such as intonation, timber, melodic cadences, and metric accentuation become the defining elements of musical structure.1 During the 1960s, Reich explored the relation of words and music in a series of works for magnetic tape that make use of recorded speech. By using recorded speech as a source of electronic tape music, he intended to present speech-melody as it naturally occurs, keeping the original emo- tional power that speech has while intensifying its inherent musical prop- erties through repetition and rhythm.2 It's Gonna Rain, composed in San Francisco in 1965, gives an example of Reich's early approach to speech in music. This piece is based on a speech sample that Reich recorded using the voice of a black Pentecostal preacher, along with the sound of pigeons and traffic. The piece is in two parts, which are based on the manipulation of two different speech fragments. Both parts start with the speech sample presented in its entirety on two channels, as originally recorded. In the course of the composition, Reich isolates individual speech fragments, which are repeated, juxtaposed, and combined in vari- ous ways. In the first part, the two channels start in unison, go gradually out of phase with each other, and then slowly move back to unison. In part two, Reich combines the technique of "phase shifting" with that of the canon. This section starts with two voices (one per channel) that go 537 This content downloaded from 129.74.250.206 on Wed, 03 Oct 2018 20:46:38 UTC All use subject to https://about.jstor.org/terms 538 The Musical Quarterly gradually out of phase and then proceed in canon. The two-voice canon is transferred to channel one, while channel two introduces a duplicate of it. The process of phase shifting is repeated, and eventually the piece develops into an eight-voice canon at the unison. Come Out (1966) is composed on the basis of a similar procedure, with a single loop recorded on two channels. The piece starts with the repetition of the loop, in uni- son with itself. As it begins to go out of phase, a slowly increasing rever- beration is heard. The speech fragment gradually develops into a canon for two, then four, and finally eight voices. In these electronic manipula- tions, the speech sample loses its original linguistic connotation and is treated as purely acoustic material.3 Reich's study of Hebrew cantillation and the rediscovery of his Jew- ish background in the mid-1970s oriented his approach to the musical setting of words and speech in a new direction, one that aims at preserv- ing the integrity of speech in terms both of its acoustic quality and of its semantic meaning. Reich grew up within the tradition of Reform Judaism, with scant exposure to the Hebrew language and to the Hebrew Bible.4 Reich's father came from a family of Jewish immigrants from east- ern Europe (Krakow and Budapest) who had tried their best to become American. Reich's mother, whose family was originally from Austria (Vienna) and Germany (Koblenz), had roots in the United States that dated back three generations.5 After a bar mitzvah where he pointed at words that he could not read "but said from memory of a transliteration into the English alphabet," Steve Reich lost interest in Judaism "with the exception of reading Martin Buber" in his teens. Through the 1960s and 1970s, Reich's interest in religion and eth- nic cultures led him to practice Buddhist meditation, read about Mexi- can mysticism, and study African and Balinese music. In 1974 he felt the desire to learn more about his own ethnic and religious background, a desire he shared with Beryl Korot, whom he met the same year. In 1975 Reich decided to attend the adult education program at Lincoln Square synagogue in New York City, taking courses in Hebrew and in the reading of the Torah. In 1976 and 1977, the cantor Edward Berman, of the Jewish Theological Seminary, introduced him to the study of bib- lical cantillation. Reich worked for some time with Johanna Spector of the Jewish Theological Seminary and with Israel Adler and Avigdor Herzog of the Hebrew University of Jerusalem. In the summer of 1977, Reich made his first trip to Israel with Korot, with the intention of visit- ing the National Archives of Recorded Sound in Jerusalem.6 While in Jerusalem, he pursued fieldwork research in the area of biblical cantilla- tion, recording the first five verses of Bereshit (Genesis) chanted by This content downloaded from 129.74.250.206 on Wed, 03 Oct 2018 20:46:38 UTC All use subject to https://about.jstor.org/terms Steve Reich and Hebrew Cantillation 539 older Jewish men from Baghdad, Yemen, Kurdistan, and India. His research confirmed him in the view that, beyond regional differences, "the structure of the chant is always the same."7 By 1978, the most intense period of his Jewish studies was over, and he felt that, indeed, he had "found his spot."8 Reich's interest in the Jewish musical tradition is centered on the Bible and on biblical cantillation: "For many people, Jewish music means 'Fiddler on the Roof' or Hasidic folk songs .... I would go back to the homeland, to the origin, and see what is particular about my tradi- tion, independently of how it was influenced, in the Askenazic experi- ence, in Germany, France and England, or, in the Sephardic experience, in Spain . .. The center of the tradition is the chanting of the Scrip- tures."9 The written text of the Hebrew Bible as transmitted since medieval times comprises three main components: the consonantal letters, the vowel symbols, and the accentuation signs for cantillation, called te'amim.o10 The consonantal text of the Torah constitutes the core of the biblical canon. For the faithful, this text represents the original gift of God to the Jewish people, which Moses received on Mount Sinai together with a body of orally transmitted rules for its interpretation. According to modern Bible historians, the consonantal text of the Torah represents the crystallization of a critical process that took place with the contribution of many generations of scholars and scribes.ll This process predates by several centuries the codification of the Masorah, which led to the inclusion in the Bible of written signs for the vowels and for the cantillation accents, which had been transmitted orally for genera- tions.12 The Hebrew alphabet is composed exclusively of consonantal let- ters. Hebrew words typically have a root of three consonants, which assume different meanings in spoken language according to the way in which they are pronounced. The same root of three consonants gener- ates a variety of words in speech, according to the vowel sounds that are added and to the eventual insertion of prefixes, suffixes and ending desinences. For instance, the three-letter root Samex-Pey-Resh (1i0) might be pronounced sefer, which means "book," or sipur, which means "story." With the addition of the prefix Mem (r), it can be pronounced mesaper, which indicates the present tense of the verb "to narrate," or mispar, which means "number." The addition of the vowels is necessary to identify a single meaning and to exclude other possible interpreta- tions of the same root. In the context of larger syntactical units, the meaning of every sequence of words depends upon the correct grouping This content downloaded from 129.74.250.206 on Wed, 03 Oct 2018 20:46:38 UTC All use subject to https://about.jstor.org/terms 540 The Musical Quarterly of the words, the interrelation of clauses and subclauses within the verse, and upon "musical" parameters, such as the relative emphasis placed in individual words in speech, the intonation, and so on.13 In the ritual practice of the synagogue, the text of the Bible is deliv- ered in a form of heightened reading that stands between reading proper and singing and is known as cantillation.
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