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!!Melodica (1966) ---- |t Durée approximative |t |t — 11 minutes| |t Dates de composition |t |t — 1966| |t Création |t |t — '''June 1966''' - ''Park Place Gallery, New York''{br}— '''Spring 1967''' - ''Fleming / Ross / Foyster / Reich, group show, Park Place Gallery, New York''| |t Dispositif : |t |t — pour bande magnétique{br}—— ''for tape''| |t Éditeur : |t |t Boosey & Hawkes — {small} — ^[[info (Boosey & Hawkes)|http://www.boosey.com/cr/music/Steve-Reich-Melodica/3275]^]{/small}| {br}{br} ---- {html} <small><b>Melodica</b> <i>(Steve Reich)</i></small><br> <object type="application/x-shockwave-flash" data="webs/dewplayer-vol.swf" width="350" height="20" id="dewplayer" name="dewplayer"> <param name="wmode" value="transparent" /> <param name="movie" value="webs/dewplayer-vol.swf" /> <param name="flashvars" value="mp3=https://jeromejoy.org/files/articles/reich/1966_melodica.mp3&bgcolor=FFFFFF&showtime=1&autoplay=0&autoreplay=0&volume=100" /> </object><br><small><i>(Source : Ubuweb)</i></small> <br> {/html} [../files/articles/reich/1966_melodica_600.jpg|../files/articles/reich/1966_melodica_900.jpg] {br} |t |t |t ''Melodica is composed of one tape loop gradually going out of phase with itself, first in two voices and then in four. The original loop is of myself playing the four note pattern on the melodica, a toy instrument. I dreamed the melodic pattern, woke up on May 22nd, 1966, and realized the piece with the melodica and tape loops in one day...It proved to be both a transition phase shifting process, and the last tape piece I ever made. — {small}(Steve Reich){/small}{br}{br} What Melodica shares with Reich’s other phase-shifting tape pieces is the fact that at a certain point in the primary process he splices channel one and two into a fixed combination which is looped and recorded again on both channels in unison and then used as the basic unit for another round of canonic interplay.{br} Melodica was first presented in June 1966 at the Park Place Gallery, New York. It was also presented as part of a concert of Reich’s music in March 1967, also at the Park Place. Reviewing this performance, New York Times critic Grace Glueck suggested that Reich’s ‘repetitive figures performed on the melodica...appear^[ed^] to be just as modular as the art’, whilst Carman Moore of the Village Voice argued that ‘the ear’s reaction to this music is basic, since a pulse is always present, the matrix becomes familiar immediately and the fact that one can be surprised by the yield of one simple phrase of music comes as a surprise’. In its original context, therefore, the piece appears to have been well received: it evidently meshed with the aesthetic ambience of the downtown art scene with its repetitious modularity, seemingly impersonal construction, and uninflected sound. But what caused Reich to neglect the piece? Two possibilities suggest themselves: firstly, the four-note pattern is, semantically, far simpler than the speech fragments of his previous phase-shifting works for tape; secondly, the metric regularity, melodic shape, implied modality (using E, B, and A), and short length of the fragment make its resultant canonic superimpositions rather lacking in diversity and elegance – the final held relationship yields little ambiguity or potential for sustaining interest.'' — {small}^[[Source (Ross Cole)|https://core.ac.uk/download/files/139/1145668.pdf]^]{/small}|t |t |t |t |t |t |t |t |t |t Un rêve de Steve Reich est à l'origine de la pièce. Le 22 mai 1966, Reich songe à un motif mélodique en dormant, compose et exécute la pièce sur un mélodica (en raison de sa tessiture qui est la plus proche de celle de la musique rêvée) et l'enregistre sur bande magnétique, le tout en un seul jour. La structure rythmique est identique à celle de ''Come Out''.{br}La pièce n'a été que peu jouée et est peu connue, mais elle a la particularité d'être la première composée par Steve Reich pour un réel instrument, aussi simple soit-il, et la dernière faite exclusivement pour bande magnétique. Après ''Melodica'', Reich avouera se sentir un temps coincé dans son processus créatif avant de revenir à l'utilisation d'instruments classiques pour poursuivre ses recherches sur le phasing avec la série des ''Piano Phase'', ''Violin Phase''. — {small}^[[Wikipedia|https://fr.wikipedia.org/wiki/Melodica_(Reich)]^]{/small} | {br}{br} |t [../files/articles/reich/1966_melodica_score_611.jpg|../files/articles/reich/1966_melodica_score_1000.jpg]{br}{br}{br}{br}{br}{br}{br}{br}{br}{br}{br}{br}[../files/articles/reich/1966_melodica_400.jpg]|t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |tl {small}{cap}Melodica{br}{br}The music exists on magnetic tape. The only source recorded is a loop of the composer playing the original figure (at 1 above) on the Melodica. This loop is first recorded on channel one and is then recorded on channel two in unison with the first channel as shown at 1 above. The dotted lines indicate the gradual shift of phase as channel two begins to slowly move ahead of channel one. Thus at 2 above channel two has moved a sixteenth ahead of the first channel, and at 3, an eighth ahead. Between 3 and 4 there occurs the only splice in the tape as the « combination » of channels one and two (as they appear at 3) is looped and recorded on both channels. To begin with (at 4 above) both channels are in unison and thus there is no rhythmic change heard between 3 and 4. Then, as before, channel two begins to gradually move ahead and out of phase with channel one. By 5 it is a sixteenth ahead, at 6 an eighth ahead, at 7 a dotted eighth, and finally at 8 a quarter ahead. This last relationship is held steadily for more than 2 1/2 minutes to permit the listener to examine the sound in detail without any phase shift to occupy his attention.{br}{br}Melodica was conceived and realized in one day, May 22, 1966.{br}{br}Steve Reich{br}{br}{br}{br}{br}Mélodica{br}{br}Cette musique est une réalisation sur bande magnétique. La seule source enregistrée est une boucle d’un enregistrement du compositeur ^[ou d’un interprète^] jouant au mélodica le motif original (voir cellule 1 ci-dessus). Cette boucle est d’abord enregistré sur le canal 1 (droite) d’un magnétophone et ensuite enregistré sur le canal 2 (gauche) à l’unison avec le canal droit comme le montre la cellule 1 dans la partition. Les pointillés indiquent un glissement progressif de la vitesse (influent l’effet de phase) lorsque le canal gauche se décale très progressivement en avant par rapport au canal droit. Ainsi dans la cellule 2 le canal gauche s’est décalé d’une double-croche par rapport au canal droit, et dans la cellule 3, une croche en avant. Entre les cellules 3 et 4 il se produit une sorte d’entrecroisement combiné entre le canal droit et celui de gauche (comme cela apparaît en 3) résultant sur une boucle synchronisée et enregistrée sur les deux canaux. Pour commencer (comme en 4 ci-dessus) les deux canaux sont à l’unisson et ainsi aucun changement rythmique n’est perceptible entre 3 et 4. Puis, comme précédemment, le canal gauche commence à glisser progressivement en se décalant en avant et en se déphasant par rapport au canal droit. En 5 le déphasage est d’une double-croche, en 6 d’une croche, en 7 d’une croche pointée, et enfin en 8 d’une noire. Ce dernier décalage doit être maintenu durant plus de deux minutes et demie afin de permettre à l’auditeur d’avoir le temps de distinguer les détails du son sans que des altérations de décalage et de déphasage n’occupent son attention.{br}{br}Mélodica a été conçue et réalisée en une journée, le 22 mai 1966.{br}{br}Steve Reich. {/cap}{/small}| ---- {br}{br} {br}{br} ---- ----
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