Chinese proverb. It says, "Learn till old, live till old, and there is still one-third not learned," meaning that no matter how old you are, there is still more learning or studying left to do.

A proverb (from Latin: proverbium) is a simple and concrete saying popularly known and repeated, which expresses a truth, based on common sense or the practical experience of humanity. They are often metaphorical. A proverb that describes a basic rule of conduct may also be known as a maxim. If a proverb is distinguished by particularly good phrasing, it may be known as an aphorism.

Proverbs are often borrowed from similar languages and cultures, and sometimes come down to the present through more than one language. Both the Bible (including, but not limited to the Book of Proverbs) and medieval Latin (aided by the work of Erasmus) have played a considerable role in distributing proverbs across Europe, although almost every culture has examples of its own.

Examples[link]

• Haste makes waste
• A stitch in time saves nine.
• Ignorance is bliss
• Mustn't cry over spilt milk.
• You can catch more flies with honey than you can with vinegar.
• You can lead a horse to water, but you can't make him drink.
• Those who live in glass houses shouldn't throw stones.
• A bird in the hand is worth two in the bush.
• Well begun is half done.
• A little learning is a dangerous thing.
• Don't poke the bear.

Paremiology[link]

Wikiquote has a collection of quotations related to: Category:Proverbs

The study of proverbs is called: paremiology (from Greek παροιμία - paroimía, "proverb") and can be dated back as far as Aristotle. Paremiography, on the other hand, is the collection of proverbs. A prominent proverb scholar in the United States is Wolfgang Mieder. He has written or edited over 50 books on the subject, edits the journal Proverbium (journal), has written innumerable articles on proverbs, and is very widely cited by other proverb scholars. Mieder defines the term proverb as follows:

A proverb is a short, generally known sentence of the folk which contains wisdom, truth, morals, and traditional views in a metaphorical, fixed and memorizable form and which is handed down from generation to generation.

—Mieder 1985:119; also in Mieder 1993:24

Sub-genres include proverbial comparisons (“as busy as a bee”), proverbial interrogatives (“Does a chicken have lips?”) and twin formulae (“give and take”).

Another subcategory is wellerisms, named after Sam Weller from Charles Dickens's The Pickwick Papers (1837). They are constructed in a triadic manner which consists of a statement (often a proverb), an identification of a speaker (person or animal) and a phrase that places the statement into an unexpected situation. Ex.: “Every evil is followed by some good,” as the man said when his wife died the day after he became bankrupt.

Yet another category of proverb is the anti-proverb (Mieder and Litovkina 2002), also called Perverb. In such cases, people twist familiar proverbs to change the meaning. Sometimes the result is merely humorous, but the most spectacular examples result in the opposite meaning of the standard proverb. Examples include, "Nerds of a feather flock together", "Early to bed and early to rise makes a man healthy, wealthy, and likely to talk about it," and "Absence makes the heart grow wander". Anti-proverbs are common on T-shirts, such as "If at first you don't succeed, skydiving is not for you."

A similar form is proverbial expressions (“to bite the dust”). The difference is that proverbs are unchangeable sentences, while proverbial expressions permit alterations to fit the grammar of the context.^[1]

Another close construction is an allusion to a proverb, such as "The new boss will probably fire some of the old staff, you know what they say about a 'new broom'," alluding to the proverb "The new broom will sweep clean."^[1]

Typical stylistic features of proverbs (as Shirley Arora points out in her article, The Perception of Proverbiality (1984)) are:

• Alliteration (Forgive and forget)
• Parallelism (Nothing ventured, nothing gained)
• Rhyme (When the cat is away, the mice will play)
• Ellipsis (Once bitten, twice shy)

In some languages, assonance, the repetition of a vowel, is also exploited in forming artistic proverbs, such as the following extreme example from Oromo, of Ethiopia.

• kan mana baala, a’laa gaala (“A leaf at home, but a camel elsewhere"; somebody who has a big reputation among those who do not know him well.)

Similarly, from Tajik:

• Az yak palak ― chand handalak ("From one vine, many different melons.")

Notice that in both of these cases of complete assonance, the vowel is <a>, the most common vowel in human languages.

Internal features that can be found quite frequently include:

• Hyperbole (All is fair in love and war)
• Paradox (For there to be peace there must first be war)
• Personification (Hunger is the best cook)

To make the respective statement more general most proverbs are based on a metaphor. Further typical features of the proverb are its shortness (average: seven words), and the fact that its author is generally unknown (otherwise it would be a quotation).

Nimm dich selbst bei der Nase ("take yourself by your nose"). It's also called "Vogel Selbsterkenntnis" (Bird of self-knowledge)

In the article “Tensions in Proverbs: More Light on International Understanding,” Joseph Raymond comments on what common Russian proverbs from the 18th and 19th centuries portray: Potent antiauthoritarian proverbs reflected tensions between the Russian people and the Czar. The rollickingly malicious undertone of these folk verbalizations constitutes what might be labeled a ‘paremiological revolt.’ To avoid openly criticizing a given authority or cultural pattern, folk take recourse to proverbial expressions which voice personal tensions in a tone of generalized consent. Thus, personal involvement is linked with public opinion^[2] Proverbs that speak to the political disgruntlement include: “When the Czar spits into the soup dish, it fairly bursts with pride”; “If the Czar be a rhymester, woe be to the poets”; and “The hen of the Czarina herself does not lay swan’s eggs.” While none of these proverbs state directly, “I hate the Czar and detest my situation” (which would have been incredibly dangerous), they do get their points across.

Proverbs are found in many parts of the world, but some areas seem to have richer stores of proverbs than others (such as West Africa), while others have hardly any (North and South America) (Mieder 2004b:108,109).

Proverbs are often borrowed across lines of language, religion, and even time. For example, a proverb of the approximate form “No flies enter a mouth that is shut” is currently found in Spain, Ethiopia, and many countries in between. It is embraced as a true local proverb in many places and should not be excluded in any collection of proverbs because it is shared by the neighbors. However, though it has gone through multiple languages and millennia, the proverb can be traced back to an ancient Babylonian proverb (Pritchard 1958:146).

Proverbs are used by speakers for a variety of purposes. Sometimes they are used as a way of saying something gently, in a veiled way (Obeng 1996). Other times, they are used to carry more weight in a discussion, a weak person is able to enlist the tradition of the ancestors to support his position, or even to argue a legal case.^[3] Proverbs can also be used to simply make a conversation/discussion more lively. In many parts of the world, the use of proverbs is a mark of being a good orator.

The study of proverbs has application in a number of fields. Clearly, those who study folklore and literature are interested in them, but scholars from a variety of fields have found ways to profitably incorporate the study proverbs. For example, they have been used to study abstract reasoning of children, acculturation of immigrants, intelligence, the differing mental processes in mental illness, cultural themes, etc. Proverbs have also been incorporated into the strategies of social workers, teachers, preachers, and even politicians. (For the deliberate use of proverbs as a propaganda tool by Nazis, see Mieder 1982.)

There are collections of sayings that offer instructions on how to play certain games, such as dominoes (Borajo et al. 1990) and the Oriental board game go (Mitchell 2001). However, these are not prototypical proverbs in that their application is limited to one domain.

One of the most important developments in the study of proverbs (as in folklore scholarship more generally) was the shift to more ethnographic appraoches in the 1960s. This approach attempted to explain proverb use in relation to the context of a speech event, rather than only in terms of the content and meaning of the proverb.^[4]

Another important development in scholarship on proverbs has been applying methods from cognitive science to understand the uses and effects of proverbs and proverbial metaphors in social relations.^[5]

Grammatical structures of proverbs[link]

Proverbs in various languages are found with a wide variety of grammatical structures. In English. for example, we find the following structures (in addition to others):

• Imperative, negative- Don't beat a dead horse.
• Imperative, positive- Look before you leap.
• Parallel phrases- Garbage in, garbage out.
• Rhetorical question- Is the Pope Catholic?
• Declarative sentence- Birds of a feather flock together.

However, people will often quote only a fraction of a proverb to invoke an entire proverb, e.g. "All is fair" instead of "All is fair in love and war", and "A rolling stone" for "A rolling stone gathers no moss."

Use in conversation[link]

Proverbs are used in conversation by adults more than children, partially because adults have learned more proverbs than children. Also, using proverbs well is a skill that is developed over years. Additionally, children have mastered the patterns of metaphorical expression that are invoked in proverb use. Proverbs, because they are indirect, allow a speaker to disagree or give advice in a way that may be less offensive. Studying actual proverb use in conversation, however, is difficult since the researcher must wait for proverbs to happen.^[6]

Use in literature[link]

Many authors have used proverbs in their novels, also film makers. Probably the most famous user of proverbs in novels is J. R. R. Tolkien in his The Hobbit and The Lord of the Rings series.^[7][8] Also, C. S. Lewis created a dozen proverbs in The Horse and His Boy.^[9] These three books are notable for not only using proverbs as integral to the development of the characters and the story line, but also for creating proverbs.

Among medieval literary texts, Geoffrey Chaucer's Troilus and Criseyde plays a special role because Chaucer's usage seems to challenge the truth value of proverbs by exposing their epistemological unreliability.^[10]

Proverbs have been the inspiration for titles of books: The Bigger they Come by Erle Stanley Gardner and Birds of a Feather (several books with this title). They have also been use as the titles of plays: Baby with the Bathwater by Christopher Durang, Dog Eat Dog by Mary Gallagher, and The Dog in the Manger. Some stories have been written with a proverb overtly as an opening, such as "A stitch in time saves nine" at the beginning of "Kitty's Class Day", one of Louisa May Alcott's Proverb Stories. Other times, a proverb appears at the end of a story, summing up a moral to the story, frequently found in Aesop's Fables, such as "Heaven helps those who help themselves" from Hercules and the Wagoner.

Proverbs have also been used strategically by poets. ^[11] Sometimes proverbs (or portions of them or anti-proverbs) are used for titles, such as "A bird in the bush" by Lord Kennet and "The blind leading the blind" by Lisa Mueller. Sometimes, proverbs are important parts of poems, such as Paul Muldoon's "Symposium", which begins "You can lead a horse to water but you can't make it hold its nose to the grindstone and hunt with the hounds. Every dog has a stitch in time..."

Some authors have bent and twisted proverbs, creating anti-proverbs, for a vartiety of literary effects. For example, in the Harry Potter novels, J. K. Rowling reshapes a standard English proverb into “It’s no good crying over spilt potion” and Dumbledore advises Harry not to “count your owls before they are delivered”.^[12] In a slightly different use of reshaping proverbs, in the Aubrey–Maturin series of historical naval novels by Patrick O'Brian, Capt. Jack Aubrey humorously mangles and mis-splices proverbs, such as “Never count the bear’s skin before it is hatched” and “There’s a good deal to be said for making hay while the iron is hot.”^[13]

Some authors have used so many proverbs that there have been entire books written cataloging their proverb usage, such as Charles Dickens,^[14] Agatha Christie,^[15] and George Bernard Shaw.^[16]

In film, the best known example of rich proverb use is Forrest Gump, again known for both using and creating proverbs.^[17] Other studies of the use of proverbs in film include work by Kevin McKenna on the Russian film Aleksandr Nevsky,^[18] Haase's study of an adaptation of Little Red Riding Hood,^[19] and Elias Dominguez Barajas on the film Viva Zapata!.^[20] In the case of Forrest Gump, the screenplay by Eric Roth had more proverbs than the novel by Winston Groom, but for The Harder They Come, the reverse is true, where the novel derived from the movie by Michael Thelwell has many more proverbs than the movie.^[21]

Proverbs and music[link]

Proverbs are often poetic in and of themselves, making them ideally suited for adapting into songs. Proverbs have been used in music from opera to country to hip-hop. Examples include Elvis Presley's Easy come, easy go, Harold Robe's Never swap horses when you're crossing a stream, Arthur Gillespie's Absence makes the heart grow fonder, Bob Dylan's Like a rolling stone, Cher's Apples don't fall far from the tree. Lynn Anderson made famous a song full of proverbs, I never promised you rose garden (written by Joe South). In choral music, we find Michael Torke's Proverbs for female voice and ensemble. A number of Blues musicians have also used proverbs extensively.^[22],^[23] The Reggae artist Jahdan Blakkamoore has recorded a piece titled Proverbs Remix. The opera Maldobrìe contains careful use of proverbs.^[24] An extreme example of many proverbs used in composing songs include Bruce Springsteen performed a song almost entirely composed of proverbs. ^[25] The Mighty Diamonds recorded a song called simply Proverbs.

The band Fleet Foxes used the proverb painting Netherlandish Proverbs for the cover of their eponymous album Fleet Foxes.

In addition to proverbs being used in songs themselves, some rock bands have used parts of proverbs as their names, such as the Rolling Stones, Bad Company, Mothers of Invention, Feast or Famine. There have been at least two groups that called themselves "The Proverbs". In addition, many albums have been named with allusions to proverbs, such as Spilt milk by Jellyfish, The more things change by Machine Head, Silk purse by Linda Rondstadt, Another day, another dollar by DJ Scream Roccett, The blind leading the naked by Vicious Femmes, What's good for the goose is good for the gander by Bobby Rush. The proverb Feast or famine has been used as an album title by Chuck Ragan, Reef the Lost Cauze, Indiginus, and DaVinci. The band Downcount used a proverb for the name of their tour, Come and take it.

Sources of proverbs[link]

Proverbs come from a variety of sources. Some are, indeed, the result of people pondering, such as some by Confucius, Plato, etc. Others are taken from such diverse sources as songs, commercials, advertisements, movies, literature, etc. A number of the well known sayings of Jesus, Shakespeare, and others have become proverbs, though they were original at the time of their creation. Many proverbs are also based on stories, often the end of a story. For example, "Who will bell the cat?" is the end of a story about the mice planning how to be safe from the cat.

Paremiological minimum[link]

Grigorii Permjakov developed the concept of the core set of proverbs that full members of society know, what he called the "paremiological minimum" (1979). For example, an adult American is expected to be familiar with "Birds of a feather flock together", part of the American paremiological minimum. However, an average adult American is not expected to know "Fair in the cradle, foul in the saddle", an old English proverb that is not part of the current American paremiological minimum. Two noted examples of attempts to establish a paremiological minimum in America are by Haas (2008) and Hirsch, Kett, and Trefil (1988). Studies of the paremiological minimum have been done for a limited number of languages, including Hungarian,^[26] Czech,^[27] Somali,^[28] and Esperanto.^[29]

Proverbs in visual form[link]

Thai ceramic, illustrating "Don't torch a stump with a hornet nest.

Netherlandish Proverbs, 1559, with peasant scenes illustrating over 100 proverbs

From ancient times, people around the world have recorded proverbs in visual form. This has been done in two ways. First, proverbs have been written to be displayed, oftentimes in a decorative manner, such as on pottery, cross-stitch, "kangas" (East African women's wraps),^[30] and quilts.^[31]

Secondly, proverbs have often been visually depicted in a variety of media, including paintings, etchings, and sculpture. Probably the most famous examples of depicting proverbs are the different versions of the paintings Netherlandish Proverbs by the father and son Pieter Bruegel the Elder and Pieter Brueghel the Younger, the proverbial meanings of these paintings being the subject of a 2004 conference, which led to a published volume of studies (Mieder 2004a). Another famous painting depicting some proverbs and also idioms (leading to a series of additional paintings) is Proverbidioms by T. E. Breitenbach. Corey Barksdale has even produced a book of paintings with specific proverbs and pithy quotations. ^[32]

A bibliography on proverbs in visual form has been prepared by Mieder and Sobieski (1999).

Applications of proverbs[link]

There is a growing interest in deliberately using proverbs to achieve goals, usually to support and promote changes in society. On the negative side, this was deliberately done by the Nazis ^[33] On the more positive side, proverbs have also been used for positive purposes. For example, proverbs have been used for teaching foreign languages at various levels. ^[34], ^[35] In addition, proverbs have been used for public health promotion, such as promoting breast feeding with a shawl bearing a Swahili proverb “Mother’s milk is sweet”, also for helping people manage diabetes ^[36], for to combat prostitution ^[37],and for community development^[38] The most active field deliberately using proverbs is Christian ministry, where Joseph G. Healey and others have deliberately worked to catalyze the collection of proverbs from smaller languages and the application of them in a wide variety of church-related ministries, resulting in publications of collections^[39] and applications^[40], ^[41]. This attention to proverbs by those in Christian ministries is not new, many pioneering proverb collections having been collected and published by Christian workers ^[42],^[43], ^[44]

Proverbs and psychology[link]

Though much proverb scholarship is done by literary scholars, those studying the human mind have used proverbs in a variety of studies. One of the earliest studies in this field is the Proverbs Test by Gorham, developed in 1956. A similar test is being prepared in German^[45]. Proverbs have been used to evaluate dementia,^[46] study the cognitive development of children,^[47] measure the results of brain injuries,^[48] and study how the mind processes figurative language.^[49]

Proverbs in advertising[link]

Anti-proverb used in advertising Chick-Fil-A

Proverbs are frequently used in advertising, often in slightly modified form.^[50] Ford once advertised its Thunderbird with, "One drive is worth a thousand words" (Mieder 2004b: 84). This is doubly interesting since the underlying proverb behind this, "One picture is worth a thousand words," was originally introduced into the English proverb repertoire in an ad for televisions (Mieder 2004b: 83).

A few of the many proverbs adapted and used in advertising include:

• "Live by the sauce, dine by the sauce" (Buffalo Wild Wings)
• "At D & D Dogs, you can teach an old dog new tricks" (D & D Dogs)
• "If at first you don't succeed, you're using the wrong equipment" (John Deere)
• "A pfennig saved is a pfennig earned." (Volkswagen)
• "Not only absence makes the heart grow fonder." (Godiva Chocolatier)
• "Where Hogs fly" (Grand Prairie AirHogs)

The GEICO company has created a series of television ads that are built around proverbs, such as "A bird in the hand is worth two in the bush":^[51] and "The pen is mightier than the sword"^[52]

Use of proverbs in advertising is not limited to the English language. Tatira has given a number of examples of proverbs used in advertising in Zimbabwe.^[53] However, unlike the examples given above in English, all of which are anti-proverbs, Tatira's examples are standard proverbs. Where the English proverbs above are meant to make a potential customer smile, in one of the Zimbabwean examples "both the content of the proverb and the fact that it is phrased as a proverb secure the idea of a secure time-honored relationship between the company and the individuals". When newer buses were imported, owners of older buses compensated by painting a traditional proverb on the sides of their buses, "Going fast does not assure safe arrival".

Sources for proverb study[link]

A seminal work in the study of proverbs is Archer Taylor's The Proverb (1931), later republished by Wolfgang Mieder with Taylor's Index included (1985/1934). A good introduction to the study of proverbs is Mieder's 2004 volume, Proverbs: A Handbook. Mieder has also published a series of bibliography volumes on proverb research, as well as a large number of articles and other books in the field. Stan Nussbaum has edited a large collection on proverbs of Africa, published on a CD, including reprints of out-of-print collections, original collections, and works on analysis, bibliography, and application of proverbs to Christian ministry (1998). Paczolay has compared proverbs across Europe and published a collection of similar proverbs in 55 languages (1997). Mieder edits an academic journal of proverb study, Proverbium (ISSN: 0743-782X). A volume containing articles on a wide variety of topics touching on proverbs was edited by Mieder and Alan Dundes (1994/1981).

See also[link]

• Book of proverbs
• List of proverbial phrases
• Old wives' tale
• Saw (saying)
• Wiktionary:Proverbs
• Wikiquote:English proverbs

Notes[link]

This article uses bare URLs for citations. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (November 2011)

References[link]

• Bailey, Clinton. 2004. A Culture of Desert Survival: Bedouin Proverbs from Sinai and the Negev. Yale University Press.
• Borajo, Daniel, Juan Rios, M. Alicia Perez, and Juan Pazos. 1990. Dominoes as a domain where to use proverbs as heuristics. Data & Knowledge Engineering 5:129-137.
• Dominguez Barajas, Elias. 2010. The function of proverbs in discourse. Berlin: Mouton de Gruyter.
• Grzybek, Peter. "Proverb." Simple Forms: An Encyclopaedia of Simple Text-Types in Lore and Literature, ed. Walter Koch. Bochum: Brockmeyer, 1994. 227-41.
• Haas, Heather. 2008. Proverb familiarity in the United States: Cross-regional comparisons of the paremiological minimum. Journal of American Folklore 121.481: pp. 319–347.
• Hirsch, E. D., Joseph Kett, Jame Trefil. 1988. The dictionary of cultural literacy. Boston: Houghton Mifflin.
• Mieder, Wolfgang. 1982. Proverbs in Nazi Germany: The Promulgation of Anti-Semitism and Stereotypes Through Folklore. The Journal of American Folklore 95, No. 378, pp. 435–464.
• Mieder, Wolfgang. 1982; 1990; 1993. International Proverb Scholarship: An Annotated Bibliography, with supplements. New York: Garland Publishing.
• Mieder, Wolfgang. 1994. Wise Words. Essays on the Proverb. New York: Garland.
• Mieder, Wolfgang. 2001. International Proverb Scholarship: An Annotated Bibliography. Supplement III (1990–2000). Bern, New York: Peter Lang.
• Mieder, Wolfgang. 2004a. The Netherlandish Proverbs. (Supplement series of Proverbium, 16.) Burlington: University of Vermont.
• Mieder, Wolfgang. 2004b. Proverbs: A Handbook. (Greenwood Folklore Handbooks). Greenwood Press.
• Mieder, Wolfgang and Alan Dundes. 1994. The wisdom of many: essays on the proverb. (Originally published in 1981 by Garland.) Madison: University of Wisconsin Press.
• Mieder, Wolfgang and Anna Tothne Litovkina. 2002. Twisted Wisdom: Modern Anti-Proverbs. DeProverbio.
• Mieder, Wolfgang and Janet Sobieski. 1999. Proverb iconography: an international bibliography. Bern: Peter Lang.
• Mitchell, David. 2001. Go Proverbs (reprint of 1980). ISBN 0-9706193-1-6. Slate and Shell.
• Nussbaum, Stan. 1998. The Wisdom of African Proverbs (CD-ROM). Colorado Springs: Global Mapping International.
• Obeng, S. G. 1996. The Proverb as a Mitigating and Politeness Strategy in Akan Discourse. Anthropological Linguistics 38(3), 521-549.
• Paczolay, Gyula. 1997. European Proverbs in 55 Languages. Veszpre’m, Hungary.
• Permiakov, Grigorii. 1979. From proverb to Folk-tale: Notes on the general theory of cliche. Moscow: Nauka.
• Pritchard, James. 1958. The Ancient Near East, vol. 2. Princeton, NJ: Princeton University Press.
• Raymond, Joseph. 1956. Tension in proverbs: more light on international understanding. Western Folklore 15.3:153-158.
• Taylor, Archer. 1985. The Proverb and an index to "The Proverb", with an Introduction and Bibliography by Wolfgang Mieder. Bern: Peter Lang.

External links[link]

Look up Appendix:English proverbs in Wiktionary, the free dictionary.

Wikiquote has a collection of quotations related to: Proverbs

Serious websites related to the study of proverbs, and some that list regional proverbs:

• ProverbHunter.com, English Proverbs Explained
• Proverbium.org, a definitive reference for proverbs, idioms and historic quotes
• Associação Internacional de Paremiologia / International Association of Paremiology (AIP-IAP)
• Interdisciplinary Colloquium on Proverbs
• Cogweb.ucla.edu
• De Proverbio (electronic journal of international proverb studies)
• Proverbs, Maxims and Phrases of All Ages: 20,500 selections from the classic reference work
• Particularly for Biblical studies
• Particularly for proverbs in Africa
• The best proverbs and sayings
• Folklore, particularly from the Baltic region, but many articles on proverbs
• Folk Sayings from Italy (see the thematic list on the left hand side of the page)
• Proverbial Wisdom (NPR)
• Proverbs and Proverbial Materials in the Old Icelandic Sagas

A bibliography of first edition publications (and modern editions where they ease understanding) of proverb collections:

• Oxford Dictionary of Proverbs: Bibliography

Steve Reich in 2006

Stephen Michael "Steve" Reich ( /ˈraɪʃ/;^[1] born October 3, 1936) is an American composer who is one of the pioneering composers of minimal music along with La Monte Young, Terry Riley, and Philip Glass.^[2][3][4]

His innovations include using tape loops to create phasing patterns (examples are his early compositions, "It's Gonna Rain" and "Come Out"), and the use of simple, audible processes to explore musical concepts (for instance, "Pendulum Music" and "Four Organs"). These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music, especially in the US. Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage, notably the Grammy Award-winning Different Trains.

Reich's style of composition influenced many other composers and musical groups. Reich has been described, in The Guardian by music critic Andrew Clements, as one of "a handful of living composers who can legitimately claim to have altered the direction of musical history",^[5] and the critic Kyle Gann has said Reich "may...be considered, by general acclamation, America's greatest living composer."^[6]

On January 25, 2007, Reich was named the 2007 recipient of the Polar Music Prize, together with jazz saxophonist Sonny Rollins. On April 20, 2009, Reich was awarded the 2009 Pulitzer Prize for Music for his Double Sextet.^[7]

Career[link]

Early life[link]

Reich was born in New York City to the Broadway lyricist June Sillman. When he was one year old, his parents divorced, and Reich divided his time between New York and California. He was given piano lessons as a child and describes growing up with the "middle-class favorites", having no exposure to music written before 1750 or after 1900. At the age of 14 he began to study music in earnest, after hearing music from the Baroque period and earlier, as well as music of the 20th century. Reich studied drums with Roland Kohloff in order to play jazz. While attending Cornell University, he took some music courses, but he graduated in 1957 with a B.A. in Philosophy. Reich's B.A. thesis was on Ludwig Wittgenstein; later he would set texts by that philosopher to music in Proverb (1995) and You Are (variations) (2006).

For a year following graduation, Reich studied composition privately with Hall Overton before he enrolled at Juilliard to work with William Bergsma and Vincent Persichetti (1958–1961). Subsequently he attended Mills College in Oakland, California, where he studied with Luciano Berio and Darius Milhaud (1961–1963) and earned a master's degree in composition. At Mills, Reich composed Melodica for melodica and tape, which appeared in 1986 on the three-LP release Music from Mills.^[8]

Reich worked with the San Francisco Tape Music Center along with Pauline Oliveros, Ramon Sender, Morton Subotnick, and Terry Riley.^[9] He was involved with the premiere of Riley's In C and suggested the use of the eighth note pulse, which is now standard in performance of the piece.

1960s[link]

Reich's early forays into composition involved experimentation with twelve-tone composition, but he found the rhythmic aspects of the twelve-tone series more interesting than the melodic aspects.^[10] Reich also composed film soundtracks for Plastic Haircut, Oh Dem Watermelons, and Thick Pucker, three films by Robert Nelson. The soundtrack of Plastic Haircut, composed in 1963, was a short tape collage, possibly Reich's first. The Watermelons soundtrack used two old Stephen Foster minstrel tunes as its basis, and used repeated phrasing together in a large five-part canon. The music for Thick Pucker arose from street recordings Reich made walking around San Francisco with Nelson, who filmed in black and white 16mm. This film no longer survives. A fourth film from 1965, about 25 minutes long and tentatively entitled "Thick Pucker II", was assembled by Nelson from outtakes of that shoot and more of the raw audio Reich had recorded. Nelson was not happy with the resulting film and never showed it.

Reich was influenced by fellow minimalist Terry Riley, whose work In C combines simple musical patterns, offset in time, to create a slowly shifting, cohesive whole. Reich adopted this approach to compose his first major work, It's Gonna Rain. Composed in 1965, the piece used a fragment of a sermon about the end of the world given by a black Pentecostal street-preacher known as Brother Walter. Reich built on his early tape work, transferring the last three words of the fragment, "it's gonna rain!", to multiple tape loops which gradually move out of phase with one another.

The 13-minute "Come Out" (1966) uses similarly manipulated recordings of a single spoken line given by Daniel Hamm, one of the falsely accused Harlem Six, who was severely injured by police. The survivor, who had been beaten, punctured a bruise on his own body to convince police about his beating. The spoken line includes the phrase "to let the bruise’s blood come out to show them." Reich rerecorded the fragment "come out to show them" on two channels, which are initially played in unison. They quickly slip out of sync; gradually the discrepancy widens and becomes a reverberation. The two voices then split into four, looped continuously, then eight, and continues splitting until the actual words are unintelligible, leaving the listener with only the speech's rhythmic and tonal patterns.

A similar, lesser known example of process music is "Pendulum Music" (1968), which consists of the sound of several microphones swinging over the loudspeakers to which they are attached, producing feedback as they do so. "Pendulum Music" has never been recorded by Reich himself, but was introduced to rock audiences by Sonic Youth in the late 1990s.

Reich's first attempt at translating this phasing technique from recorded tape to live performance was the 1967 Piano Phase, for two pianos. In Piano Phase the performers repeat a rapid twelve-note melodic figure, initially in unison. As one player keeps tempo with robotic precision, the other speeds up very slightly until the two parts line up again, but one sixteenth note apart. The second player then resumes the previous tempo. This cycle of speeding up and then locking in continues throughout the piece; the cycle comes full circle three times, the second and third cycles using shorter versions of the initial figure. Violin Phase, also written in 1967, is built on these same lines. Piano Phase and Violin Phase both premiered in a series of concerts given in New York art galleries.

Reich also tried to create the phasing effect in a piece "that would need no instrument beyond the human body". He found that the idea of phasing was inappropriate for the simple ways he was experimenting to make sound. Instead, he composed Clapping Music (1972), in which the players do not phase in and out with each other, but instead one performer keeps one line of a 12-quaver-long (12-eighth-note-long) phrase and the other performer shifts by one quaver beat every 12 bars, until both performers are back in unison 144 bars later.

The 1967 prototype piece Slow Motion Sound was not performed although Chris Hughes performed it 27 years later as "Slow Motion Blackbird" on his Reich-influenced 1994 album Shift. It introduced the idea of slowing down a recorded sound until many times its original length without changing pitch or timbre, which Reich applied to Four Organs (1970), which deals specifically with augmentation. The piece has maracas playing a fast eighth note pulse, while the four organs stress certain eighth notes using an 11th chord. This work therefore dealt with repetition and subtle rhythmic change. It is unique in the context of Reich's other pieces in being linear as opposed to cyclic like his earlier works— the superficially similar Phase Patterns, also for four organs but without maracas, is (as the name suggests) a phase piece similar to others composed during the period. Four Organs was performed as part of a Boston Symphony Orchestra program, and was Reich's first composition to be performed in a large traditional setting.

1970s[link]

In 1971, Reich embarked on a five-week trip to study music in Ghana, during which he learned from the master drummer Gideon Alorwoyie. Reich also studied Balinese gamelan in Seattle. From his African experience, as well as A. M. Jones's Studies in African Music about the music of the Ewe people, Reich drew inspiration for his 90-minute piece Drumming, which he composed shortly after his return. Composed for a nine-piece percussion ensemble with female voices and piccolo, Drumming marked the beginning of a new stage in his career, for around this time he formed his ensemble, Steve Reich and Musicians, and increasingly concentrated on composition and performance with them. Steve Reich and Musicians, which was to be the sole ensemble to interpret his works for many years, still remains active with many of its original members.

After Drumming, Reich moved on from the "phase shifting" technique that he had pioneered, and began writing more elaborate pieces. He investigated other musical processes such as augmentation (the temporal lengthening of phrases and melodic fragments). It was during this period that he wrote works such as Music for Mallet Instruments, Voices and Organ (1973) and Six Pianos (1973).

In 1974, Reich began writing what many would call his seminal work, Music for 18 Musicians. This piece involved many new ideas, although it also hearkened back to earlier pieces. It is based on a cycle of eleven chords introduced at the beginning (called "Pulses"), followed by a small section of music based on each chord ("Sections I-XI"), and finally a return to the original cycle ("Pulses"). This was Reich's first attempt at writing for larger ensembles. The increased number of performers resulted in more scope for psychoacoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". Reich remarked that this one work contained more harmonic movement in the first five minutes than any other work he had written. Steve Reich and Musicians made the premier recording of this work on ECM Records.

Reich explored these ideas further in his frequently recorded pieces Music for a Large Ensemble (1978) and Octet (1979). In these two works, Reich experimented with "the human breath as the measure of musical duration … the chords played by the trumpets are written to take one comfortable breath to perform".^[11] Human voices are part of the musical palette in Music for a Large Ensemble but the wordless vocal parts simply form part of the texture (as they do in Drumming). With Octet and his first orchestral piece Variations for Winds, Strings and Keyboards (also 1979), Reich's music showed the influence of Biblical cantillation, which he had studied in Israel since the summer of 1977. After this, the human voice singing a text would play an increasingly important role in Reich's music.

In 1974 Reich published a book, Writings About Music (ISBN 0814773583), containing essays on his philosophy, aesthetics, and musical projects written between 1963 and 1974. An updated and much more extensive collection, Writings On Music (1965–2000) (ISBN 0195111710), was published in 2002.

1980s[link]

Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage. Tehillim (1981), Hebrew for psalms, is the first of Reich's works to draw explicitly on his Jewish background. The work is in four parts, and is scored for an ensemble of four women's voices (one high soprano, two lyric sopranos and one alto), piccolo, flute, oboe, English horn, two clarinets, six percussion (playing small tuned tambourines without jingles, clapping, maracas, marimba, vibraphone and crotales), two electronic organs, two violins, viola, cello and double bass, with amplified voices, strings, and winds. A setting of texts from psalms 19:2–5 (19:1–4 in Christian translations), 34:13–15 (34:12–14), 18:26–27 (18:25–26), and 150:4–6, Tehillim is a departure from Reich's other work in its formal structure; the setting of texts several lines long rather than the fragments used in previous works makes melody a substantive element. Use of formal counterpoint and functional harmony also contrasts with the loosely structured minimalist works written previously.

	Pat Metheny "Electric Counterpoint III Fast" (1989) noicon 25 seconds of "Electric Counterpoint III Fast" performed by Pat Metheny. Composed by Steve Reich. From "Different Trains/Electric Counterpoint" album.
Problems listening to this file? See media help.

Different Trains (1988), for string quartet and tape, uses recorded speech, as in his earlier works, but this time as a melodic rather than a rhythmic element. In Different Trains Reich compares and contrasts his childhood memories of his train journeys between New York and California in 1939–1941 with the very different trains being used to transport contemporaneous European children to their deaths under Nazi rule. The Kronos Quartet recording of Different Trains was awarded the Grammy Award for Best Classical Contemporary Composition in 1990. The composition was described by Richard Taruskin as "the only adequate musical response—one of the few adequate artistic responses in any medium—to the Holocaust", and he credited the piece with earning Reich a place among the great composers of the 20th century.^[13]

1990s to present[link]

In 1993, Reich collaborated with his wife, the video artist Beryl Korot, on an opera, The Cave, which explores the roots of Judaism, Christianity and Islam through the words of Israelis, Palestinians, and Americans, echoed musically by the ensemble. The work, for percussion, voices, and strings, is a musical documentary, named for the Cave of Machpelah in Hebron, where a mosque now stands and Abraham is said to have been buried. The two collaborated again on the opera Three Tales, which concerns the Hindenburg disaster, the testing of nuclear weapons on Bikini Atoll, and other more modern concerns, specifically Dolly the sheep, cloning, and the technological singularity.

As well as pieces using sampling techniques, like Three Tales and City Life (1994), Reich also returned to composing purely instrumental works for the concert hall, starting with Triple Quartet (1998) written for the Kronos Quartet that can either be performed by string quartet and tape, three string quartets or 36-piece string orchestra. According to Reich, the piece is influenced by Bartók's and Alfred Schnittke's string quartets, and Michael Gordon's Yo Shakespeare.^[14] This series continued with Dance Patterns (2002), Cello Counterpoint (2003), and sequence of works centered around Variations: You Are (Variations) (2004) (a work which looks back to the vocal writing of works like Tehillim or The Desert Music), Variations for Vibes, Pianos, and Strings (2005, for the London Sinfonietta) and Daniel Variations (2006).

Invited by Walter Fink, he was the 12th composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 2002.

In an interview with The Guardian, Reich stated that he continues to follow this direction with his piece Double Sextet (2007) commissioned by eighth blackbird, an American ensemble consisting of the instrumental quintet (flute, clarinet, violin or viola, cello and piano) of Schoenberg's piece Pierrot Lunaire (1912) plus percussion. Reich states that he was thinking about Stravinsky's Agon (1957) as a model for the instrumental writing.

Reich was awarded the 2009 Pulitzer Prize for Music, on April 20, 2009, for Double Sextet.^[15]

December 2010 NoneSuch and Indaba Music held a community remix contest where over 250 submissions were received, and Steve Reich and Christian Carey judged the finals. Reich spoke in a related BBC interview that once he composed a piece he would not alter it again himself; "when it's done, it's done". On the other hand he acknowledged that "remixes" have an old tradition e.g. famous religious music pieces where melodies were further developed into new songs.^[16]

In May 2011, Steve Reich received an honorary doctorate from the New England Conservatory of Music.^[17]

Influence[link]

Reich's style of composition has influenced many other composers and musical groups, including John Adams, the progressive rock band King Crimson, the new-age guitarist Michael Hedges, the art-pop and electronic musician Brian Eno, the experimental art/music group The Residents, the composers associated with the Bang on a Can festival (including David Lang, Michael Gordon, and Julia Wolfe), and numerous indie rock musicians including songwriter Sufjan Stevens^[18][19] and instrumental ensembles Tortoise,^[20][21][22] The Mercury Program (themselves influenced by Tortoise),^[23] So Many Dynamos, Do Make Say Think and A Silver Mt. Zion.^{[citation needed]} Godspeed You! Black Emperor composed a song, unreleased, entitled "Steve Reich".^[24]

John Adams commented, "He didn't reinvent the wheel so much as he showed us a new way to ride."^[25] He has also influenced visual artists such as Bruce Nauman, and many notable choreographers have made dances to his music, Eliot Feld, Jiří Kylián, Douglas Lee and Jerome Robbins among others; he has expressed particular admiration of Anne Teresa De Keersmaeker's work set to his pieces.

In featuring a sample of Reich's Electric Counterpoint (1987) the British ambient techno act the Orb exposed a new generation of listeners to the composer's music with its 1990 production “Little Fluffy Clouds.”^[26] Further acknowledgment of Reich's influence on various electronic dance music producers came with the release in 1999 of the Reich Remixed^[27] tribute album which featured reinterpretations by artists such as DJ Spooky, Kurtis Mantronik, Ken Ishii, and Coldcut, among others.^[26]

Reich often cites Pérotin, J.S. Bach, Debussy, Bartók, and Stravinsky as composers he admires, whose tradition he wished as a young composer to become part of.^[28] Jazz is a major part of the formation of Reich's musical style, and two of the earliest influences on his work were vocalists Ella Fitzgerald and Alfred Deller, whose emphasis on the artistic capabilities of the voice alone with little vibrato or other alteration was an inspiration to his earliest works. John Coltrane's style, which Reich has described as "playing a lot of notes to very few harmonies", also had an impact; of particular interest was the album Africa/Brass, which "was basically a half-an-hour in F."^[29] Reich's influence from jazz includes its roots, also, from the West African music he studied in his readings and visit to Ghana. Other important influences are Kenny Clarke and Miles Davis, and visual artist friends such as Sol LeWitt and Richard Serra. Reich recently contributed the introduction to Sound Unbound: Sampling Digital Music and Culture (The MIT Press, 2008) edited by Paul D. Miller, a.k.a. DJ Spooky.

Recent projects[link]

Reich has the world premiere of a piece, WTC 9/11, written for String Quartet and Tape, a similar instrumentation to that of Different Trains. It premiered in March 2011 by the Kronos Quartet, at Duke University, North Carolina, USA.^{[citation needed]}

Quotations[link]

[...] I drove a cab in San Francisco, and in New York I worked as a part-time social worker. Phil Glass and I had a moving company for a short period of time. I did all kinds of odd jobs [...] I started making a living as a performer in my own ensemble. I would never have thought that it was how I was going to survive financially. It was a complete wonder.
—From an interview with Richard Kessler, 1998^[30]

The point is, if you went to Paris and dug up Debussy and said, 'Excusez-moi Monsieur…are you an impressionist?' he'd probably say 'Merde!' and go back to sleep. That is a legitimate concern of musicologists, music historians, and journalists, and it's a convenient way of referring to me, Riley, Glass, La Monte Young [...] it's become the dominant style. But, anybody who's interested in French Impressionism is interested in how different Debussy and Ravel and Satie are—and ditto for what's called minimalism. [...] Basically, those kind of words are taken from painting and sculpture, and applied to musicians who composed at the same period as that painting and sculpture was made [...].
—From an Interview with Rebecca Y. Kim, 2000^[31]

All musicians in the past, starting with the middle ages were interested in popular music. (...) Béla Bartók's music is made entirely of sources from Hungarian folk music. And Igor Stravinsky, although he lied about it, used all kinds of Russian sources for his early ballets. Kurt Weill's great masterpiece Dreigroschenoper is using the cabaret-style of the Weimar Republic and that's why it is such a masterpiece. Only artificial division between popular and classical music happened unfortunately through the blindness of Arnold Schoenberg and his followers to create an artificial wall, which never existed before him. In my generation we tore the wall down and now we are back to the normal situation, for example if Brian Eno or David Bowie come to me, and if popular musicians remix my music like The Orb or DJ Spooky it is a good thing. This is a natural normal regular historical way.
—From an Interview with Jakob Buhre^[32]

Works[link]

• Soundtrack for The Plastic Haircut, tape (1963)
• Music for two or more pianos (1964)
• Livelihood (1964)
• It's Gonna Rain, tape (1965)
• Soundtrack for Oh Dem Watermelons, tape (1965)
• Come Out, tape (1966)
• Melodica, for melodica and tape (1966)
• Reed Phase, for soprano saxophone and tape (1966)
• Piano Phase for two pianos, or two marimbas (1967)
• Slow Motion Sound concept piece (1967)
• Violin Phase for violin and tape or four violins (1967)
• My Name Is for three tape recorders and performers (1967)
• Pendulum Music for 3 or 4 microphones, amplifiers and loudspeakers (1968) (revised 1973)^[33]
• Four Organs for four electric organs and maracas (1970)
• Phase Patterns for four electric organs (1970)
• Drumming for 4 pairs of tuned bongo drums, 3 marimbas, 3 glockenspiels, 2 female voices, whistling and piccolo (1970/1971)
• Clapping Music for two musicians clapping (1972)
• Music for Pieces of Wood for five pairs of tuned claves (1973)
• Six Pianos (1973) – transcribed as Six Marimbas (1986)
• Music for Mallet Instruments, Voices and Organ (1973)
• Music for 18 Musicians (1974–76)
• Music for a Large Ensemble (1978)
• Octet (1979) – withdrawn in favor of the 1983 revision for slightly larger ensemble, Eight Lines
• Variations for Winds, Strings and Keyboards for orchestra (1979)
• Tehillim for voices and ensemble (1981)
• Vermont Counterpoint for amplified flute and tape (1982)
• The Desert Music for chorus and orchestra or voices and ensemble (1983, text by William Carlos Williams)
• Sextet for percussion and keyboards (1984)
• New York Counterpoint for amplified clarinet and tape, or 11 clarinets and bass clarinet (1985)
• Three Movements for orchestra (1986)
• Electric Counterpoint for electric guitar or amplified acoustic guitar and tape (1987, for Pat Metheny)
• The Four Sections for orchestra (1987)
• Different Trains for string quartet and tape (1988)
• The Cave for four voices, ensemble and video (1993, with Beryl Korot)
• Duet for two violins and string ensemble (1993)
• Nagoya Marimbas for two marimbas (1994)
• City Life for amplified ensemble (1995)
• Proverb for voices and ensemble (1995, text by Ludwig Wittgenstein)
• Triple Quartet for amplified string quartet (with prerecorded tape), or three string quartets, or string orchestra (1998)
• Know What Is Above You for four women’s voices and 2 tamborims (1999)
• Three Tales for video projection, five voices and ensemble (1998–2002, with Beryl Korot)
• Dance Patterns for 2 xylophones, 2 vibraphones and 2 pianos (2002)
• Cello Counterpoint for amplified cello and multichannel tape (2003)
• You Are (Variations) for voices and ensemble (2004)
• For Strings (with Winds and Brass) for orchestra (1987/2004)
• Variations for Vibes, Pianos, and Strings dance piece for three string quartets, four vibraphones, and two pianos (2005)
• Daniel Variations for four voices and ensemble (2006)
• Double Sextet for 2 violins, 2 cellos, 2 pianos, 2 vibraphones, 2 clarinets, 2 flutes or ensemble and pre-recorded tape (2007)
• 2x5 for 2 drum sets, 2 pianos, 4 electric guitars and 2 bass guitars (2008)
• Mallet Quartet for 2 marimbas and 2 vibraphones or 4 marimbas (or solo percussion and tape) (2009)
• WTC 9/11 for String Quartet and Tape (2010)

Selected discography[link]

• Drumming. Steve Reich and Musicians (Two recordings: Deutsche Grammophon and Nonesuch) So Percussion (Cantaloupe)
• Music for 18 Musicians. Steve Reich and Musicians (Two recordings: ECM and Nonesuch), Grand Valley State University New Music Ensemble (Innova), Ensemble Modern (RCA).
• Octet/Music for a Large Ensemble/Violin Phase. Steve Reich and Musicians (ECM)
• Variations for Winds, Strings and Keyboards/Music for Mallet Instruments, Voices and Organ/ Six Pianos. San Francisco Symphony Orchestra, Edo de Waart, Steve Reich & Musicians (Deutsche Grammophon)
• Tehillim/The Desert Music. Alarm Will Sound and OSSIA, Alan Pierson (Cantaloupe)
• Different Trains/Electric Counterpoint. Kronos Quartet, Pat Metheny (Nonesuch)
• You Are (Variations)/Cello Counterpoint. Los Angeles Master Chorale, Grant Gershon, Maya Beiser (Nonesuch)
• Steve Reich: Works 1965-1995. Various performers (Nonesuch).
• Daniel Variations, with Variations for Vibes, Pianos and Strings. London Sinfonietta, Grant Gershon, Alan Pierson (Nonesuch)
• Double Sextet/2x5, Eighth Blackbird and Bang on a Can (Nonesuch)
• Piano Phase, transcribed for guitar, Alexandre Gérard (Catapult)
• Phase to Face, a film documentary about Steve Reich by Eric Darmon & Franck Mallet (EuroArts) DVD

Further reading[link]

• D.J. Hoek. Steve Reich: A Bio-Bibliography. Greenwood Press, 2002.
• Steve Reich. Writings about Music. Press of the Nova Scotia College of Art and Design, 1974.
• K. Robert Schwarz. Minimalists. Phaidon Press, 1996.

See also[link]

• Minimalist music
• Steve Reich and Musicians

Notes[link]

References[link]

• Potter, Keith (2000). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Music in the Twentieth Century series. Cambridge, UK; New York, New York: Cambridge University Press.
• Reich, Steve; Hillier, Paul (Editor) (April 1, 2002). Writings on Music, 1965–2000. USA: Oxford University Press. p. 272. ISBN 0-19-511171-0. 
• Reich, Steve (1974). Writings About Music. Halifax: Press of the Nova Scotia College of Art and Design. p. 78. ISBN 0-919616-02-X. 

External links[link]

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Interviews

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'Brian Temba' ( born Brian Themba Makiwane) is a South African born performer, singer, songwriter and producer, known for his role as Simba in the West End musical The Lion King

Career[link]

Theatre[link]

• Simba in The Lion King (2003-2008: West End)
• u/s Simba/Ensemble in The Lion King (2000-2001: Panteges Theatre, Los Angeles)
• Ensemble in Lion and the lamb (1999: Market Theatre, South Africa)

Television[link]

• Omar in Hip Hop Opera (Urban Concepts, London)
• Featured Artist in Back stage (ETV)
• Brian in 'Generations' (SABC 1)
• guest at the Jay Leno Show (Los Angeles)
• guest at Felicia Mabuza Sule Show (South Africa)

Recordings[link]

• Amazing Grace (film soundtrack)
• Roger and Sam Grandison Live in London, featured on track Awesome Wonder
• Mamani by Joy Denalane (2002)

External links[link]

• Brian Temba official site
• spotlight link Spotlight Link CV