Examines the popularity of MINIMALism in classical music. Serialism and chance music in 1970s classical composition; Kronos Quartet's concert series at the Brooklyn Academy of music (BAM); George Crumb's `Black Angels' as a manifestation of politics in the 1970s; `Black Angels' as a product of the postwar modernist aesthetic; Comparisons with rock and roll.
The article discusses how performers in the Western classical tradition overcome the technical and psychological challenges of MINIMAList music in America in 1960. Topics discussed include some of the MINIMAList composers in 1960 such as La Monte Young, Terry Riley and Steve Reich, information on the book "Different Trains" by Steve Reich, and the significance of getting articulation right in performing MINIMAList music.
The article considers the work of classical composer Frank Reich. Reich's music provided a welcome contrast to the overly academic MINIMALism that was sapping the life out of classical music in the 1960s and 70s. Reich's works, like "Clapping music," blended African phrasing and rhythms in a Western classical tradition.
Several letters to the editor are presented in response to articles in previous issues including "The Last Page," "Towards An Ideal (21st-Century) Console Design," by John Gouwens in the February 2008 issue and an article about pop music in church.
‘From now on, I will accept only Karel Goeyvaerts as my teacher in composition’ exclaimed the young Karlheinz Stockhausen during the famous New music Summer Courses at Darmstadt in 1951. Goeyvaerts had just explained the very principles of serial organization for which Stockhausen had been searching for some time. In the following years Goeyvaerts 1923–1993) developed those basic principles into variety of composition techniques, and into a stylistic diversity not often encountered in serious music. After having applied serialism to tapegenerated music in the early 1950s and to experimental and aleatoric procedures in the 1960s, Goeyvaerts developed the repetitive element, already couched in some of his serial works, during the 70s and 80s. In his last period, the Belgian composer did not eschew a return to tonality, without however foresaking the core of serial thinking of which he had been the founding father. For many of these tendencies Goeyvaerts was the forerunner; to others he added valuable contributions. Therefore, his artistic legacy should be evaluated against the work of other European avantgarde composers such as Stockhausen or Boulez, or put into perspective by comparing it with the work of his American colleagues such as Babbitt, Carter, Riley or Glass.
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