Minimal music covers several music styles within the new music, which wrapped from the 1960s in the US and shaped by Michael Nyman. From the visual art, the term is minimal species. As postmodern music she will also be described.
Minimalism and modernity
In the 1960s, the post minimalism developed the Minimal Music. A precise starting point of this movement can not be defined. This genre describes the ‘idea of metamorphosis’ and turns away from European classical music. There was a mass movement. Tabus were broken and the genres pop and classic united. Nowadays, Minimal Music is assigned to the genre trance and techno because rhythmic bass, memorable tone consequences and frequent repetitions dominate these genres as well. Conventional procedures of composing are ignored, especially those of the avant-garde of the 1950s and early 1060s and also the serial music. With contemporary pop music there are interactions. Producers such as Minimal Techno and the Guitarit Dylan Carlson served as an artist of pop cultural music at the elements of the Minimal Music. Indian and Indonesian music of the Gamelan and African music of the polyrhythmics combine this style. The Notre lady school of the 12. and 13. Century includes free-jazz and psychedelic rock.
Features of the Minimal Music
Compared to art music, the Minimal Music is simply because it has a modal tonality with a few dissonances. Instrumentation and notes are also kept simple. Stylistic variety characterizes the minimum music and is characterized by repetitive structures. Smallest motivistic cells that are also called patterns are created and are melodic, rhythmic or harmonious nature. Stable harmonics and tonal music language with many consonances also distinguishes this genre. In addition, it has additives and subtractive processes. So there are individual notes and motif cells added or taken away. This changes the rhythmic structure. Phase shifts, overlays and also accent shifts of the motivic cells also result in a sound carpet in different voices. The phase shift arises when two equal tapes are played at the same time at different speeds. Thus, compositions arose like ‘CLAPPING MUSIC’ and ‘Piano Phase’. The usual voltage structure in a composition is avoided. Instead, there is continuity. The timbre and the sound density are hardly changed. This creates the impression that these fragments are heard in a permanent musical continuum. The extended timet term is also a characteristic of minimal music. So pieces can be heard in a completely new dimension because they can take over a few seconds or hours, days and weeks.
Composers and their works
Steve Reich, La Monte Young, Terry Jennings and Terry Riley are among the founders of the Minimal Music. In his film music to the movie ‘Koyaanisqatsi’, Philip Glass also served at the elements of the Minimal Music and made them accessible to a wide audience. Yann Tiersen, Louis Andriessen and Peter Michael Hamel also belong to the composers of this genres and performance artists such as Ólafur Arnalds and Volker Bertelmann or artists like Lubomyr Melnk ranks in the Guard. Electronics musicians also grab motifs of the Minimal Music. To you include ‘power plant’ and ‘tangerine dream’. Exemplary works are Terry Rileys’ in C ‘from 1954, La Monte Young’ The Four Dreams of China ‘from 1962 and Phillip Glass” Einstein on the Beach ‘as a music theater from the year 1976. Also Julius Eastman’s ‘Feminy’ from 1974 and Simeon ten Holts ‘CAN Ostinato’ from 1979 count. Due to the advent of the tape devices La Monte Young changed frequencies and modulate sounds. He focused on the composition of pieces in pure mood, ie the chord associations of pure intervals of the Terz, Quinte and Octave. As well as Terry Riley, he tried to connect Indian and Western music culture together. Steve rich, on the other hand, focused as a drum student with the African drum elements. In search of his own musical identity, Phillip Glass broke with his conventions and dealt with a complex Indian compositionality. Thus, he developed his own language in this genre and took the view that the listener and the effect of the music were about the formal structures.
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