Minimalist music essay

One might as well admit, too, that overpopulation probably exerted its own pressures on postminimalism. If every piece includes everything, then all pieces become in some sense the same – a phenomenon that was fairly observable in the era of ambitiously massive, all-embracing serialist works, which inevitably came to resemble each other. There are so many tens of thousands, perhaps hundreds of thousands, of composers now, and without self-limitation on each one’s part, they all end up exploring the same territory. Minimalism had created a model in which, paradoxically, although materials didn’t matter, the focus on a specific element held so much power that, say, a piece based on a major third could have a very different profile from a similar one based on a minor third. Self-limitation enabled a composer to mark off territory different from that covered by other composers – or, put differently, it made pieces recognizable , it gave them profile.

An article last Sunday about the composer Tony Conrad misstated Henry Rollins’s participation at a recent screening of “Tony Conrad: Completely in the Present” in Los Angeles. He moderated a post-screening conversation; Mr. Rollins did not introduce the film. (Joanne Heyler introduced it.) The article also referred incorrectly to one of several coming concerts to honor the anniversary of Mr. Conrad’s death. The musician MV Carbon will perform at a concert on April 9 at Le Poisson Rouge; she did not organize that event. In addition, the article misstated part of the name of a website started by the artist Cory Arcangel. It is “Music and the Mind of the World,” not “Music and the Mind and the World.” And a caption with the article misidentified the artist shown in a 1965 photograph of the Primitives. He is Walter DeMaria, not Angus MacLise.

Minimalist music essay

minimalist music essay


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