THE “EXPERIMENTAL” STAGE OF MUSICAL MINIMALISM
Authors
Khaydarova Farangiz Azamatovna
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Annotation
this article reconsiders the “experimental” stage of musical minimalism in the late 1950s and early 1960s as an autonomous phase in the formation of the movement, rather than merely a “prehistory” of so-called classical minimalism. Drawing on early works by La Monte Young, Dennis Johnson, Terry Jennings, and others, it analyses compositional principles of radical reduction of sonic material, extended duration, a stable tonal centre, repetition, and additive processes – features that give rise to a new mode of listening. The study also examines a range of socio-cultural factors that shaped the emergence of experimental minimalism.
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Authors
Khaydarova Farangiz Azamatovna
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References:
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