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Terrence Mitchell Riley (born June 24, 1935) is an American composer and performing musician [1] best known as a pioneer of the minimalist school of composition. [2] Influenced by jazz and Indian classical music, his work became notable for its innovative use of repetition, tape music techniques, improvisation, and delay systems. [2]
Minimal music (also called minimalism) [2] [3] is a form of art music or other compositional practice that employs limited or minimal musical materials. Prominent features of minimalist music include repetitive patterns or pulses , steady drones , consonant harmony , and reiteration of musical phrases or smaller units.
Though he finds the term minimalist inaccurate to describe his later work, Glass does accept this term for pieces up to and including Music in 12 Parts, excepting this last part which "was the end of minimalism" for Glass. As he pointed out: "I had worked for eight or nine years inventing a system, and now I'd written through it and come out ...
La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and performance artist recognized as one of the first American minimalist composers and a central figure in Fluxus and post-war avant-garde music.
Minimal music albums (23 C, 15 P) C. Minimalist composers (60 P) Minimalistic compositions (8 C, 34 P) G. Minimal music groups (3 P) Pages in category "Minimal music"
Solo Piano (1989) is an album of piano music composed and performed by Philip Glass.It was produced by Kurt Munkacsi. The title of five of the seven tracks, "Metamorphosis", refers to and was inspired by the 1915 novella The Metamorphosis by Franz Kafka.
The work is based on poetry by John Donne and Emily Dickinson and is regarded as one of the key compositions of Adams' "minimalist" period. [ 1 ] The work was premiered by the San Francisco Symphony and San Francisco Symphony Chorus, with conductor Edo de Waart , on 15 April 1981, and subsequently recorded it. [ 2 ]
Erik Satie, seen as a precursor of minimalism as in much of his music. For example, his score for Francis Picabia 's 1924 film Entr'acte consists of phrases, many borrowed from bawdy popular songs, ordered seemingly arbitrarily and repetitiously, providing a rhythmic counterpoint to the film.
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