MINIMALIST MUSICS Meaning and
Definition
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Minimalist music refers to a genre or style of music that is characterized by its simplicity, repetition, and reduction of musical elements to their bare essentials. It emerged in the 1960s and 1970s as a reaction against the complexity and abstraction of contemporary classical music.
At its core, minimalist music is defined by a minimal number of musical materials and ideas, which are then subtly varied and repeated over extended periods of time. These materials often consist of simple melodic patterns, harmonic progressions, or rhythmic figures. The repetition and gradual transformation of these elements create a sense of hypnotic and meditative quality in the music.
Minimalist compositions typically exhibit a distinctive slow and steady progression, relying on subtle shifts and additive or subtractive processes rather than dramatic developments. They often explore the concept of stasis, with an emphasis on exploring the nuances and details within the repeated patterns.
Minimalist music has influenced a wide range of genres, including classical music, electronic music, rock, and pop. Composers such as Steve Reich, Philip Glass, and Terry Riley are considered pioneers of minimalist music, having developed their own unique approaches and techniques within the genre.
Overall, minimalist music can be seen as a reflection of the desire for simplicity and clarity in an increasingly complex and chaotic world. It offers a stripped-down and focused musical experience that encourages deep listening and contemplation.
Common Misspellings for MINIMALIST MUSICS
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Etymology of MINIMALIST MUSICS
The term "minimalist music" originated in the 1960s to describe a genre of contemporary classical music characterized by its simplicity and repetitive patterns. It emerged as a reaction against the complexity and density of music that dominated the avant-garde of the time.
The specific etymology of the word "minimalist" in this context is attributed to Michael Nyman, a British composer and critic. He used the term in a 1968 review of a performance by the composer Cornelius Cardew. However, it was composer and music theorist Tom Johnson who popularized the term in his 1972 article titled "The Voice of New Music: New York 1971".
The term itself is derived from the word "minimal", which means "smallest" or "least". It reflects the central aesthetic tenets of the genre, focusing on simplicity, repetition, and reduction of musical material.
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