Minimalism
Course Description
Summary
A seminar in analyzing the diverse streams of musical minimalism. We'll look at minimalism's conceptual roots in the 1960s, and trace influences from the visual arts, as well as early works of Steve Reich, Philip Glass, Fluxus, Cage, and the UK's Scratch Orchestra. The seminar will combine on-the-score and aural analysis, contrasting open score, aurally taught, and strictly notated works. We'll unpack some of the core techniques of minimalism and post-minimalism: additive rhythms, polyrhythms, canons, and the extended tonalities of works by Reich, Glass, Adams, and Lang. In the end, we'll consider electronica as a mutual influence and analogue. Previous work with notation or theory required.
Learning Outcomes
- Learn about compositional approaches using minimal compositional, visual, and performative materials
Learn about minimalism in the context of visual and performing arts of the 1960s and 1970s.
Examine the legacies of minimalist techniques, from asynchronous loops to iteration, in other post-minimalist genres.
Prerequisites
Permission of the instructor. Previous work with performance, notation, or theory.
Please contact the faculty member : nbrooke@bennington.edu