Steve Reich's Serialist Movement

Steve Reich lost interest in serialism early. A student of Luciano Berio at Mills College, Reich quickly realized the melodic limitations of twelve-tone composition. Serialist rhythm was a different story. Reich was enamored with the processes and repetition inherent to serial rhythm and it helped to form what is, without a doubt, the prevailing link between Reich's work over the past forty years; his complex, innovative use of rhythm. It's absolutely the case with Music for Mallet Instruments, Voices and Organ, a well-regarded piece nevertheless overshadowed by what is widely considered one of Reich's seminal compositions, Music for 18 Musicians. Premiered in 1973, Music for Mallet Instruments, Voices and Organ deals in large part with Reich's
Moving through four somewhat distinct sections, Music for Mallet Instruments, Voices and Organ, while relying heavily of the repetition that is so characteristic of Reich, has far more melodic movement than much of his work from the time period. The phrases come at rapid fire, polyrhythmic melodies beginning on one metallophone, expanding onto another and then being answered contrapuntally by a third or fourth. There are no soloists and the dynamic shifts remain quite subtle and reserved throughout. Reich's Ensemble Modern, established In 1966 with three other performers had, by 1971's Drumming ballooned to well over twelve regular players. The use of a consistent ensemble allows Reich to surround himself with like-minded players whose chief concerns are not improvisation or self-expression but rather an ego-robbing adherence to the necessity of collectivism. Reich has said, "The pleasure I get from playing is not the pleasure of expressing myself but of subjugating myself to the music and experiencing the ecstasy that comes from being a part of it." Though Reich, a huge (pre-free) jazz fan, has no problem with improvisation, within his own work he it seems almost like anathema.
Smaller in size and scope than Drumming, Music for Mallet Instruments, Voices and Organ shares a number of characteristics with its predecessor. Heavily influenced rhythmically and sonically by Reich's trip to Ghana, both are large ensemble works featuring overlapping rhythmic figures and both are two of his earliest attempts to move away from phasing towards more involved, elaborate instrumental interweaving. Both works are also some of Reich's first attempts to use the human voice as a means to simulate and support the sounds of the live instruments (very similar to the second part of Drumming). Moreover, his technique of shifting timbres instrument by instrument on the same melodic line, begun in Drumming, really begins to be refined on Music for Mallet Instruments, Voices and Organ.
In addition to his rhythmic techniques, Reich's work has almost always relied, at least in some part, on technology and electronics. Moving from early forays with tape loops (It's Gonna Rain, Come Out, etc), feedback (Pendulum Music) and mergers of live instruments with tape (his Counterpoint series) to his most recent pieces (You Are ((Variations)), Cello Counterpoint), amplification and electricity have been key elements of his work. Though the addition of visuals to his work is a relatively new development, beginning with Different Trains (1988), it fits perfectly with Reich's body of work.