Steve Reich

Reich's music builds from repeating patterns that gradually shift out of phase or undergo systematic transformation. His harmonic language is tonal but static, creating a sense of timelessness. The rhythmic vitality draws from African drumming, Balinese gamelan, and Hebrew cantillation, fused into an unmistakable voice.

African drumming fundamentally shaped his rhythmic conception and concept of interlocking patterns. Balinese gamelan influenced his approach to layered repetition and gradual change. Minimalist colleagues La Monte Young, Terry Riley, and Philip Glass formed a community of mutual influence.

Early tape pieces explored phasing as pure process. The 1970s brought the technique to live instruments in works like Music for 18 Musicians. Middle period incorporated speech melody and documentary materials. Late works have explored complex canons and religious themes while maintaining core aesthetic principles.

His eureka moment came in 1965 while experimenting with tape loops—he set two identical loops of a preacher saying 'It's gonna rain' running simultaneously, and they gradually fell out of sync. This accidental phasing became the foundation of his aesthetic, transforming accident into system.

His Three Tales, a 'video opera' about technology and humanity, shows his engagement with ethical questions about progress—it's substantial music theater that deserves programming beyond the new music ghetto.

Reich is one of the most frequently performed living composers, with works appearing on contemporary music series and even crossover into popular venues. Music for 18 Musicians especially has reached near-canonical status. He's transformed from fringe experimentalist to established master.