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Musica minima

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Musica minima est genus musicae cum aestheticis compositorum La Monte Young, Terry Riley, Stephani Reich, et Philippi Glass conatibus in Civitatibus Foederatis consociatus.[1][2][3][4] Hic modus musicae in scaena downtown Novi Eboraci decennio 197 ortus est, et primum considerabatur genus musicae experimentalis New York Hypnotic School ('Schola Hypnotica Novi Eboraci') appellatum.[5] Inter praestantes generis proprietates sunt harmonia consonans, pulsus constans (si non pedale immobile), stasis vel transformatio per graduus, et saepe iteratio phrasium musicarum vel unitatum minorum, sicut figurae, motifs, et cellulae. Genus multas proprietates potest comprehendere sicut processus additi et permutatio phasium. Compositiones minimae quae rationibus processualibus habent, regulas rigide sequentes, usitate vocabulis describuntur musica processualis.

A decennio 197 ineunte in adflicta scaena subterranea in spatiis "alternis" Franciscopoli cenaculisque Novi Eboraci, minimalismus factus est genus musicum experimentale populo gratissimum saeculi 20 exeunte. Motus primum nonnullos denos? compositorum implicavit, sed solum quinque (Young, Riley, Stephanus Reich, Philippus Glass, et deinde Ioannes Adams) emersunt ut cum musica minima Civitatum Foederatarum aperte fierent. In Europa, musica Ludovici Andriessen, Caroli Goeyvaerts, Michaelis Nyman, Gavin Bryars, Stephani Martland, Henrici Górecki, Arvo Pärt, et Ioannis Tavener proprietates minimalistas exhibet.

Incertum est ubi locutio musica minima ortum esset. Stephanus Reich subiecit id Michaeli Nyman adsignari potesse—consilium quod duo eruditi, Ionathan Bernard et Dan Warburton, in eorum scriptis fecerunt. Philippus Glass credit Thomam Johnson locutionem excogitasse.[6][7][8]

Nexus interni

Notae

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  1. ↑ Mertens (1983: 11)
  2. ↑ Michael Nyman, praefatio libri Mertensiani modum appellat "so called minimal music" (ibid, p. 8).
  3. ↑ "The term 'minimal music' is generally used to describe a style of music that developed in America in the late 1960s and 1970s; and that was initially connected with the composers La Monte Young, Terry Riley, Steve Reich, and Philip Glass." L. Sitsky, Music of the twentieth-century avant-garde: a biocritical sourcebook (Westport, Connecticutae: Greenwood Press, 2002), 361.
  4. ↑ Young, La Monte, "Notes on The Theatre of Eternal Music and The Tortoise, His Dreams and Journeys" (original PDF file), 2000, Mela Foundation, http://www.melafoundation.org.
  5. ↑ Kostelanetz et Flemming 1997: 114–116.
  6. ↑ Kostelanetz et Flemming 1997: 114.
  7. ↑ Bernard 1993: 87 et 126.
  8. ↑ Warburton 1988: 141.

Bibliographia

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  • Bernard, Jonathan W. 1993. The Minimalist Aesthetic in the Plastic Arts and in Music. Perspectives of New Music 31(1):86–132.
  • Bernard, Jonathan W. 2003. Minimalism, Postminimalism, and the Resurgence of Tonality in Recent American Music. American Music 21(1:112–133.
  • Cope, David. 1997. Techniques of the Contemporary Composer. Novi Eboraci: Schirmer Books. ISBN 0-02-864737-8.
  • Fink, Robert. 2005. Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeleiae: University of California Press. ISBN 0-520-24036-7 (cloth). ISBN 0-520-24550-4 (pbk).
  • Gann, Kyle. 1987. "Let X = X: Minimalism vs. Serialism." Village Voice (24 Februarii): 76.
  • Gann, Kyle. 1997. American Music in the Twentieth Century. Novi Eboraci: Schirmer. ISBN 0-02-864655-X.
  • Gann, Kyle. 2001. Minimal Music, Maximal Impact: Minimalism's Immediate Legacy: Postminimalism. New Music Box: The Web Magazine from the American Music Center (November 1).
  • Gann, Kyle. 2006. Music Downtown: Writings from the Village Voice. Berkeleiae: University of California Press. ISBN 0-520-22982-7.
  • Garland, Peter, et La Monte Young. 2001. "Jennings, Terry". The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan.
  • Gotte, Ulli. 2000. Minimal Music: Geschichte, Asthetik, Umfeld. Taschenbucher zur Musikwissenschaft 138. Wilhelmshaven: Noetzel. ISBN 3-7959-0777-2.
  • Johnson, Timothy A. 1994. "Minimalism: Aesthetic, Style, or Technique?" Musical Quarterly 78(4):742–773.
  • Johnson, Tom. 1989. The Voice of New Music: New York City 1972-1982 – A Collection of Articles Originally Published by the Village Voice. Eindhoven, Nederlandiae: Het Apollohuis. ISBN 90-71638-09-X.
  • Kostelanetz, Richard, et R. Flemming. 1997. Writings on Glass: Essays, Interviews, Criticism. Berkeleiae et Angelopoli: University of California Press; Novi Eboraci: Schirmer Books.
  • Linke, Ulrich. 1997. Minimal Music: Dimensionen eines Begriffs. Folkwang-Texte, 13. Essen: Die blaue Eule. ISBN 3-89206-811-9.
  • Lovisa, Fabian R. 1996. Minimal-music: Entwicklung, Komponisten, Werke. Darmstadt: Wissenschaftliche Buchgesellschaft.
  • MacDonald, Ian. 2003. "The People's Music". Londinii: Pimlico Publishing. ISBN 1-84413-093-2.
  • Mertens, Wim. 1983. American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Liber conversus a J. Hautekiet; praefatio Michael Nyman. Londinii: Kahn & Averill; Novi Eboraci: Alexander Broude. ISBN 0-900707-76-3
  • Meyer, Leonard B. 1994. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Ed. 2a. Sicagi et Londiniin: University of Chicago Press. ISBN 0-226-52143-5.
  • Nyman, Michael. 1968. Minimal Music. The Spectator 221(7320), 11 Octobris: 518–519.
  • Nyman, Michael. 1974. Experimental Music: Cage and Beyond. Londinii: Studio Vista ISBN 0-289-70182-1; reimpressus 1999, Cantabrigiae: Cambridge University Press. ISBN 0-521-65383-5.
  • Perlein, Gilbert, et Bruno Corà (eds). 2000. Yves Klein: Long Live the Immaterial! Catalogus exhibitionis in Musée d'art moderne et d'art contemporain, Nice, habitae, 28 Aprilis—4 Septembris, 2000, et Museo Pecci, Prato, 23 Septemberis 2000 – 10 Ianuarii 2001. Novi Eboraci: Delano Greenidge Editions, 2000. ISBN 978-0-929445-08-3.
  • Potter, Keith. 2000. Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Music in the Twentieth Century series. Cantabrigiae et Novi Eboraci: Cambridge University Press. ISBN 0-521-48250-X.
  • Potter, Keith. 2001. Minimalism. The New Grove Dictionary of Music and Musicians. Ed. 2a, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers; Novi Eboraci: Grove's Dictionaries of Music.
  • Rose, Barbara. 1965. ABC Art. Art in America 53(5):57–69.
  • Schönberger, Elmer. 2001. Andriessen: (4) Louis Andriessen. The New Grove Dictionary of Music and Musicians. Ed. 2a, ed. Stanley Sadie et John Tyrrell. Londinii: Macmillan Publishers; Novi Eboraci: Grove's Dictionaries of Music.
  • Schwarz, K. Robert. 1996. Minimalists. 20th Century Composers Series. Londinii: Phaidon. ISBN 0-7148-3381-9.
  • Strickland, Edward. 1993. Minimalism: Origins. Bloomington: Indiana University Press. ISBN 0-253-35499-4 (cloth); ISBN 0-253-21388-6 (pbk). Impressio emendata et aliquantulum retractata, 2000. Capitulum T, pp. 241–56, Strickland 1997 impressum.
  • Strickland, Edward. 1997. Minimalism: T (1992). In Writings on Glass: Essays, Interviews, Criticism, ed. Richard Kostelanetz et Robert Flemming, 113–130. Berkeleiae et Angelopoli: University of California Press; Novi Eboraci: Schirmer Books. ISBN 0-520-21491-9. Capitulum ex Strickland 1993 retractatum.
  • Sweeney-Turner, Steve. 1995. Weariness and Slackening in the Miserably Proliferating Field of Posts. Musical Times 136(1833, November): 599–601.
  • Warburton, Dan. 1988. A Working Terminology for Minimal Music. Intégral 2: 135–159.

Nexus externi

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