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
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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*
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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*
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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
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POTTER, Keith, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge University Press, 2000*
SCHWARZ, K. Robert, Minimalists. Phaidon, 1996
STRICKLAND, Edward, Minimalism: Origins. Indiana University Press, 1991*
TARUSKIN, Richard, “A Harmonious Avant-Garde? - Minimalism: Young, Riley, Reich, Glass; Their European Emulators”. En: Music in the Late Twentieth Century. Oxford University Press, 2009*
TOOP, David, Océano de sonido: palabras en el éter, música ambient y mundos imaginarios. Traducción de Tadeo Lima. Caja Negra, 2016*
WLODARSKI, Amy Lynn, “The Testimonial Aesthetics of Different Trains”. Journal of the American Musicology Society, vol. 63, n.º 1 (2010), pp. 99-142*