Steve Reich (1936- ), in his essay “Music as a Gradual Process” (1968), wrote that “a compositional process and a sounding music [...] are one and the same thing.” His aesthetic creed of “perceptible processes,” indicated in these words,... more
Steve Reich (1936- ), in his essay “Music as a Gradual Process” (1968), wrote that “a compositional process and a sounding music [...] are one and the same thing.” His aesthetic creed of “perceptible processes,” indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of Anti-Illusion: Procedures/Materials (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich’s music and postminimal art in view of his involvement in the Anti-Illusion show. The theme of the Anti-Illusion show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones’ swinging. This piece clearly demonstrates that Reich’s claim in “Music as a Gradual Process” was propounded in connection with postminimal art as an attempt to disclose musical processes and thereby reveal the real.
Minimalism arose in the United States during the sixties surrounded by many controversial attitudes. There have been also conflicts of opinion and diverging aesthetical positions towards the style in Brazil. This article aims to... more
Minimalism arose in the United States during the sixties surrounded by many controversial attitudes. There have been also conflicts of opinion and diverging aesthetical positions towards the style in Brazil. This article aims to contribute to the debate about Brazilian music and to point to many aesthetical styles present on Brazilian Contemporary Music scenario.
Article on German minimal techno and discourses of minimalism, published in a special issue of JPMS on German Pop: Journal of Popular Music Studies 25, no. 2(2013): 154-84.... more
[informal] A historical discussion of post-minimalism in music, with particular attention to historiographic issues. Discusses radical vs reactionary postminimalism, minimalism and music theater, the influence of popular music.
Minimalizm terimi yirminci yüzyılın başında politik alanda kullanılmış, ancak 1960’lardan itibaren başta resim ve heykel olmak üzere müzik ve mimarlık gibi sanat alanlarında ve edebiyat (özellikle kısa öykü) alanında bir fenomeni... more
Minimalizm terimi yirminci yüzyılın başında politik alanda kullanılmış, ancak 1960’lardan itibaren başta resim ve heykel olmak üzere müzik ve mimarlık gibi sanat alanlarında ve edebiyat (özellikle kısa öykü) alanında bir fenomeni nitelendirmiştir. Soyut dışavurumculuğa tepki olarak ortaya çıkan minimalizm yeni üsluplar getirmiş, genel geçer sanat anlayışına alternatif bir anlayış ortaya koymuştur. Minimalizm hem edebiyatta hem de genel olarak sanatta eksiltme, indirgeme ve kısıtlama teknikleriyle ve damıtma-yoğunlaşma süreçleriyle küçüklük ve sadeliğin sağlanmasını amaçlar. Minimalist eserin başarısı izler kitlede yarattığı etkiye bağlıdır. Bu çalışma minimalizmin ortaya çıkışını, gelişimini, edebi minimalizmi, minimalist eserlerde rastlanan ortak özellikleri kısaca ele almayı, ayrıca edebi minimalizmin önde gelen yazarlarından Ann Beattie’nin “The Rabbit Hole as Likely Explanation” adlı öyküsünü minimalist açıdan incelemeyi amaçlamaktadır.
[informal] A historical discussion of post-minimalism in music, with particular attention to historiographic issues. Discusses radical vs reactionary postminimalism, minimalism and music theater, the influence of popular music.
‘Record production as a practice is little more than a century old and responds to societal and technological shifts’ (Burgess, 2013). The term 'record producer' or, more commonly, 'producer', is an umbrella idiom that can describe a... more
‘Record production as a practice is little more than a century old and responds to societal and technological shifts’ (Burgess, 2013). The term 'record producer' or, more commonly, 'producer', is an umbrella idiom that can describe a range of different creative practices involved in the making and recording of music. Burgess goes on to divide these practices into six categories: artist, auteur, facilitator, collaborator, enabler and consultant. Broadly speaking, these different articulations define the roles of the producer from overseer to maker.
Through the application of Ableton software in combination with live analogue instrument playing, the performance will contribute to a current of contemporary practice that includes work by fellow improvisational producers such as Tim Exhile, Imogen Heap, Brian Eno, Bugge Wesseltoft and Henrik Schwarz.
This presentation explores a potential addition to Burgess's taxonomy; that of the producer as improviser.
¿Cuál es la música más avanzada de nuestro tiempo? ¿Qué la hace ser avanzada? ¿Es la música electrónica música avanzada per se? ¿De dónde viene esta idea? ¿Acaso de las ficciones de la historia de la música occidental, de sus obsesiones... more
¿Cuál es la música más avanzada de nuestro tiempo? ¿Qué la hace ser avanzada? ¿Es la música electrónica música avanzada per se? ¿De dónde viene esta idea? ¿Acaso de las ficciones de la historia de la música occidental, de sus obsesiones de progreso y sus decadencias? ¿Cuántas voces de fantasmas (volviendo a Didi-Huberman y Warburg), podemos escuchar en la música avanzada de hoy?, ¿cuánta persistencia espectral en su experimentalismo? ¿Cómo podemos pensar sus ideas y procesos desde esta perspectiva?
La estetización es un fenómeno presente en gran parte del arte y el pensamiento actuales que puede rastrearse en los escritos de filósofos desde la Ilustración hasta nuestros días. Cuando la experiencia artística es tal que los... more
La estetización es un fenómeno presente en gran parte del arte y el pensamiento actuales que puede rastrearse en los escritos de filósofos desde la Ilustración hasta nuestros días. Cuando la experiencia artística es tal que los componentes estéticos se sitúan con preponderancia o sustituyen a los componentes artísticos se produce la estetización. El siglo XX muestra una gran variedad de corrientes artísticas que buscaron nuevos modos de expresión, entre ellas las vanguardias negativas, las cuales encontraron caminos hasta entonces inexplorados, llevando al arte a una "desarticidad" donde la capacidad artística era aplastada por la estética del pensamiento Este hecho también se dio en la música, desde los futuristas italianos a las obras de John Cage o los minimalistas, que fueron referencia de multitud de artistas de la música pop. Este libro analiza el origen de estas corrientes musicales y la influencia que han tenido en la estética y el pensamiento musicales de la segunda mitad del siglo XX.
CONTENIDO:
1. Prólogo 2. La "estetización" como fenómeno en la sociedad actual. Precedentes 3. Primeras vanguardias. Futuristas italianos, dadaístas y surrealistas. Erik Satie y su "Musique d' ameublement" 4. Fenómenos de estetización en la música norteamericana. John Cage y la indeterminación 5. Minimalismo y música repetitiva. La Monte Young, Terry Riley, Steve Reich y Philip Glass 6. Arte es vida, vida es arte: Fluxus, pop, punk y vanguardias 7. Fenómenos de estetización en la música europea 8. Estetización en la música española. Juan Hidalgo y ZAJ. Carles Santos y Llorenç Barber 9. Caminos del arte: ¿hacia dónde se dirige la música? 10. Bibliografía
