David First (b.
Steve Roden In a similar manner to the term "Post-Impressionism" it serves to gather together a range of styles that are related, yet which often have very different, even opposing interests.

In the '60s and '70s, minimalist composers used such devices as repetitive arpeggios, diatonic scales, phased rhythmic patterns, and constrained dynamic ranges to bring "serious" music into the public sphere with greater success than nearly any other 20th century classical or avant-garde development. Glass, fairly or not, has become the paradigm of the composer who has "sold out," who writes dumbed-down music for mass audiences not sophisticated enough to understand anything better. Built around a single cello loop, Klara Lewis' most restricted work to date might also be her most powerful. Evan Caminiti Composers associated with the New York-based Bang on a Can -- notably David Lang, Julia Wolf, Michael Gordon, and Evan Ziporyn -- also remain enamored of minimalist approaches yet clearly feel free to explore a host of other contemporary music influences from world music to electronica. Selections from the… Rouse has expanded his structures into two vernacular-based operas: Joshua Fried (b. And so the '50s generation began writing pieces that had the textural clarity of minimalism, but the rousing energy of rock and the rhythmic intricacy of Indian and African musics. Who wants to write in D-flat major for 50 pages at a stretch, as in Reich's The initial developments of postminimalism came around 1980. If minimalism means the stripped-down, diatonically tonal, pattern-repetitive style that arose in the '60s - and it probably should mean this - then it is in a state of suspended animation. Even so, in later work—take Williams’ Minority Report score, for example—we can find audible aspects of post-Minimalism: Composers like Schoenberg and Boulez stripped away the idea of harmony and wrote music according to mathematical principles.
On the rock side of the equation, Gann includes leaders on the cutting edge of the New York no wave scene such as Glenn Branca and Rhys Chatham in his description of post-minimalism. For the undeniable truth is that a collective style did emerge from the works of dozens of composers working independently. Sometimes it's harmonic, in the use of a seamless tonality cleansed of goal-oriented European associations. The new post-minimalist composers and performers were arguably open to even more influences than their forebears -- including rock, jazz, world music, folk, sound art, noise, and even the occasional classical Romantic gesture.

Sometimes it's rhythmic, in the tendency to create geometric illusions from steady pulses. Reich, because his music offers more variety and more of a veneer of chamber-music detail, has fared somewhat better, turning into the Grand Old Man of a dead but respectably historical idiom. The term "Post-Minimalism" was first used in reference to a range of art practices that emerged in the wake of Minimalism in the late 1960s.

The minimalist scene was geographically specific, growing out of the activities of a handful of composers mostly active in New York, though also in San Francisco. It's true in the sense that one could look at a giant oak tree and say, "That acorn I saw 30 years ago isn't there any more." Post-minimalism began circa 1980 and built upon the foundation laid down by minimalism's first practitioners. Besides those listed above, some of the best works are Duckworth's These are enough examples, I hope, to strongly suggest that postminimalism is not a small, isolated, or ephemeral phenomenon. Lentz moved from Santa Barbara to Los Angeles. ... Composers at Michigan State University. Here, music critics dropped the ball. The new post-minimalist composers and performers were arguably open to even more influences than their forebears -- including rock, jazz, world music, folk, sound art, noise, and even the occasional classical Romantic gesture. Unlike the official new music (whether serialist or post-Cage conceptualist), these pieces were easy to understand on first hearing. Continuing the post-minimalist thread, Sollima has collaborated with the French/Belgian ensemble Art Zoyd, whose earliest semi-acoustic incarnation might be considered an influence on the Flemish drummerless avant-prog chamber group Aranis, a 21st century band that brings post-minimalist flexibility to music with occasional strong Philip Glass-like tendencies. As far as the public is concerned, it is very much alive, since Steve Reich and Philip Glass, at least, continue to lead highly visible public careers. Jean-Michel Blais / CFCF Mikel Rouse (b. Sicilian cellist Giovanni Sollima has also been labeled as a post-minimalist, using repeating arpeggios and ostinati while incorporating rock and jazz influences as well as Mediterranean folk forms. post-minimalism 9-Beet Stretch. Asperities From that point onward, any composer who wrote diatonically tonal music with a steady beat was written off as a Johnny-come-lately minimalist.

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