Composer of the Week

Throughout history, music has typically been defined by the art and architecture of the era in which it is written. Baroque, classical, romantic, impressionist, expressionist, minimalist, modernist — these are all categorizations of art, music, dance, architecture, and style.

To take this into consideration, we should look at what might broadly define minimalism.

1. Precise. Jackson Pollack, while using minimal design, lacks precision and definition in his work.
2. Geometric. This could be symmetrical, though more to the point clearly defined by clean shapes.
3. Mathematical. Arrays and planned numbers of events often define minimalist work.
4. Subjective. The belief that the emotion of the viewer superseded that of the artist led to seemingly stoic works non-reflective of the feelings of the artist.
5. Process. This is perhaps most important. The work is devoid of erroneous processes, allowing the viewer or listener to experience the work and the process simultaneously. They are one in the same.

The example here is by Allan McCollum, from his installation, Plaster Surrogates (1982/4).

When referring to this movement in music, these same principles apply. While the depth of what constitutes minimalist music is great, I will only align the musical concerns with those of the general definition above.

1. Precise. The manner in which transformations occur and harmonies change is particular.
2. Geometric. Steady pulse is usually present and gives a sense of linear direction.
3. Mathematical. Transformations are calculated and phasing may occur at specific time intervals or travel to specific spatial points.
4. Subjective. There are no grand crescendos or moments of impact, no luscious or succulent melodic lines.
5. Process. As a piece grows, it avails itself to the listener.  The additive process is tangible, not obscured by compositional techniques.

To gain some insight into how this applies to the music of Steve Reich, I highly recommend you read his 1968 manifesto, Music As a Gradual Process. It clearly articulates the why and what in much of his music, and is a very enlightening read. You can view it here at the website of Columbia University.

Today’s listening:  An Interview with Steve Reich (from the American Mavericks Listening Room)