74. Minimalismo

Bajo el contexto inicial de las artes plásticas se produce de modo natural la traslación, o mejor la ampliación, al arte de la música. Como en otras artes, también en la creación musical se impone esa idea del ‘menos es más’. Aquí, más que de un estilo hablamos de una filosofía.
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Has escuchado

The Descending Moonshine Dervishes (1975) / Terry Riley. Kuckuck (1992)

The Electric Harpsichord (1976) / Catherine Christer Hennix. Die Schachtel (2010)

Music for 18 Musicians. Section IIIA (1976) / Steve Reich. Ensemble Links; Rémi Durupt, director. Kairos (2020)

Strumming for harpsichord (1977) / Charlemagne Palestine. San Francisco Conservatory of Music. Sub Rosa (2010)

 Trio for strings (1958-2015) / La Monte Young. The Theatre of Eternal Music (Charles Curtis, violonchelo; Reynard Rott, violonchelo; Erik Carlson, violín y viola; Christopher Otto, violín y viola). Dia Art Foundation (2021)

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Selección bibliográfica

BERNARD, Jonathan W., “Minimalism, Postminimalism, and the Resurgence of Tonality in Recent American Music”. American Music, vol. 21, n.º 1 (2003), pp. 112-133*

BOON, Marcus, “Catherine Christer Hennix, the Practice of Music and Modal Ontology”. En: Practical Aesthetics. Editado por Bernd Herzogenrath. Bloomsbury, 2021

BOUTWELL, Brett, “Terry Jennings, the Lost Minimalist”. American Music, vol. 32, n.º 1 (2014), pp. 82-107*

CARL, Robert, Terry Riley’s In C. Oxford University Press, 2009

COLE, Ross, “‘Sound Effects (O.K., Music)’: Steve Reich and the Visual Arts in New York City, 1966-1968”. Twentieth-Century Music, vol. 11, n.º 2 (2014), pp. 217-244*

CURESES, Marta, “Literatura y ciencia en la composición minimalista: hacia una teoría del azar controlado”. Actio nova: revista de teoría de la literatura y literatura comparada, n.º 3 (2019), pp. 424-455*

EATON, Rebecca M. Doran, “Marking Minimalism: Minimal Music as a Sign of Machines and Mathematics in Multimedia”. Music and the Moving Image, vol. 7, n.º 1 (2014), pp. 3-23*

ÉTIENNE, Yvan (ed.), Phill Niblock: Working Title. Les Presses du Réel Edition, 2012

FINK, Robert, “(Post-)minimalism 1979-2000: The Search for a New Mainstream”. En: The Cambridge Companion to Twentieth-Century Music. Editado por Mervyn Cooke. Cambridge University Press, 2008*

GANN, Kyle, “Reconstructing November”. American Music, vol. 28, n.º 4 (2010), pp. 481-491*

GANN, Kyle y Keith Potter (eds.), The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2013

IGES, José, “Grupos minimalistas españoles: música contemporánea”. Ritmo, vol. 53, n.º 532 (1983), pp. 35-37*

JEAN-FRANCOIS, Isaac, “Julius Eastman: The Sonority of Blackness Otherwise”. Current Musicology, vol. 106 (2020), pp. 9-35*

JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage. Zone, 2008*

KOTZ, Liz, Words to Be Looked At: Language in 1960s Art. MIT Press, 2007

LEVAUX, Christophe, We Have Always Been Minimalist: The Construction and Triumph of a Musical Style. University of California Press, 2020*

LEVINE PACKER, Renée y Mary Jane Leach (eds.), Gay Guerrilla: Julius Eastman and His Music. University of Rochester Press, 2015

MAY, Thomas (ed.), The John Adams Reader: Essential Writings on an American Composer. Amadeus, 2006

MERTENS, Wim, American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Khan & Averill, 1983

MOWERY, Janice, “Meredith Monk: Between the Cracks”. Perspectives of New Music, vol. 51, n.º 2