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Minimalism, Postminimalism, and the Resurgence of Tonality in Recent American Music

Bibliographic Data

ID14801501
AuthorsJonathan W Bernard (corresponding author)
Year2003
Volume21
Issue1
Pages112
Publication date2003-01-01
Open AccessNo
TypeARTICLE
VenueAmerican Music (JOURNAL)
Journal identifiersISSN: 0734-4392 • E-ISSN: 1945-2349
PublisherUniversity of Illinois Press (PUBLISHER • US)
DOI10.2307/3250558
OpenAlexW2312392691
LanguageEN
Citations received3

music they have been writing for the past twenty-five years or so.' While would seem that during the early 1970s had been accorded a certain grudging acceptance, as time went on most composers found progressively less satisfactory.2 Reich, for instance, has asserted that it becomes more pejorative than descriptive starting about 1973 with my Music for Mallet Instruments, Voices, and Organ.'3 Furthermore, some prominent critics over the past two decades have come to the conclusion that minimalism was finished by the mid-1970s, its original practitioners having gone on to other things.4 But this episode in the history of contemporary art-music composition is not really as simply characterized as such denials might suggest. What have Reich, Glass, and others actually repudiated? Is an aesthetic orientation, or a style, or simply the word used to identify it? It is the word itself which seems to have become the lightning rod

Aesthetics · Art · Musical · Tonality · Visual arts · Computer Science · History · Music History and Culture · Music Technology and Sound Studies · Musicology and Musical Analysis

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    Stefan Kostka, Matthew Santa•Materials and Techniques of…•2018

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    Open Access•Ang-Cheng Kris Ho, Fernando Martin Pastor•Malaysian Journal of Music•2022

  • New Chaconnes for Old?’ Steve Reich’s Sketches for Variations for Winds, Strings and Keyboards , with Some Thoughts on Their Significance for the Analysis of the Composer’s Harmonic Language in the Late 1970s

    Keith Potter•Contemporary Music Review•2017

Citations per year0.33
Citation span2017 - 2022 (6)
Highly citedNo

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