Regarding Reich, I think it is safe to say that the accessibility of Reich’s ideas is what makes him so popular among so many diverse groups of music listeners.  The Who’s Baba O’Riley for example opens with a synthesizer motive that is reminiscent of some of the phasing found in Reich’s music.  Other contemporary artists have been known to use his ideas, and it seems that music students and music patrons the world over are constantly amazed by his music–or the process of his music.  For all its simplicity, performances of Reich’s music requires great skill, concentration, and musicianship.

Try writing a piece using some of the concepts defined earlier in the blog or styled after Reich’s It’s Gonna Rain. I did this about a year and a half ago, the resulting Noon a portion of a presentation on Avante Garde Music.  The title, palindromic in nature, is for piano and marimba and explores minimalist components in a palindromic form.  I found the composition process exciting, but difficult at times.  Credit was immediately dished over to Reich and other composers who have made careers in such areas of composition.  Perhaps it is the simple act of doing that helps us appreciate the complexity of the process.  And to his credit, Reich has made the process a simple act of listening.

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 The belief that the emotion of the viewer superseded that of the artist led to seemingly stoic works non-reflective of the feelings of the artist.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)