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Postminimalist Composers
Postminimalism is an art term coined (as post-minimalism) by Robert Pincus-Witten in 1971Chilvers, Ian and Glaves-Smith, John, ''A Dictionary of Modern and Contemporary Art'', second edition (Oxford and New York: Oxford University Press, 2009), p. 569. . and used in various artistic fields for work which is influenced by, or attempts to develop and go beyond, the aesthetic of minimalism. The expression is used specifically in relation to music and the visual arts, but can refer to any field using minimalism as a critical reference point. In music, postminimalism refers to music following minimal music. Visual art Postminimalist visual art uses minimalism either as a conceptual art aesthetic or a generative art practice. Like Fluxus, Postminimalism is more of an artistic tendency than a particular style, but in general, postminimalist artworks often use everyday objects, simple materials, and sometimes take on a pure formalist aesthetics or post-conceptual approaches. However, s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Pincus-Witten
Robert Pincus-Witten (April 5, 1935 – January 28, 2018) was an American art critic, curator and Art history, art historian. Biography Born in New York City, Pincus-Witten earned his undergraduate degree at Cooper Union, in New York City in 1956. He wrote his master's degree (1962) and Ph.D. (1968) both at the University of Chicago. His dissertation, on Joséphin Péladan and the Salon de la Rose + Croix was written under Joshua Taylor and John Rewald. Pincus-Witten joined the Queens College, City University of New York in 1964. In 1970 he was promoted to professor at Queens College. Pincus-Witten retired from CUNY in 1990. In 1966 he began writing criticism for Artforum magazine as its senior editor. He became associate editor of Artforum in 1976. An initial book on minimalism and the era following it was issued in 1977. His collected art criticism was published as Eye to Eye: Twenty Years of Art Criticism, in 1984. His treatise on postmodern art, Postminimalism into Maximalis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Postminimalism (music)
Postminimalism is an art term coined (as post-minimalism) by Robert Pincus-Witten in 1971Chilvers, Ian and Glaves-Smith, John, ''A Dictionary of Modern and Contemporary Art'', second edition (Oxford and New York: Oxford University Press, 2009), p. 569. . and used in various artistic fields for work which is influenced by, or attempts to develop and go beyond, the aesthetic of minimalism. The expression is used specifically in relation to music and the visual arts, but can refer to any field using minimalism as a critical reference point. In music, postminimalism refers to music following minimal music. Visual art Postminimalist visual art uses minimalism either as a conceptual art aesthetic or a generative art practice. Like Fluxus, Postminimalism is more of an artistic tendency than a particular style, but in general, postminimalist artworks often use everyday objects, simple materials, and sometimes take on a pure formalist aesthetics or post-conceptual approaches. However, s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bluegrass Music
Bluegrass music is a genre of American roots music that developed in the 1940s in the Appalachian region of the United States. The genre derives its name from the band Bill Monroe and the Blue Grass Boys. Bluegrass has roots in African American genres like blues and jazz and North European genres, such as Irish ballads and dance tunes. Unlike country, it is traditionally played exclusively on acoustic instruments such as the fiddle, mandolin, banjo, guitar and upright bass. It was further developed by musicians who played with Monroe, including 5-string banjo player Earl Scruggs and guitarist Lester Flatt. Bill Monroe once described bluegrass music as, "It's a part of Methodist, Holiness and Baptist traditions. It's blues and jazz, and it has a high lonesome sound." Bluegrass features acoustic stringed instruments and emphasizes the off-beat. The off-beat can be "driven" (played close to the previous bass note) or "swung" (played farther from the previous bass note). N ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Balinese Gamelan
Gamelan (; ; , ; ) is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones (played with mallets) and a set of hand-drums called ''kendang'', which keep the beat. The '' kemanak'', a banana-shaped idiophone, and the '' gangsa'', another metallophone, are also commonly used gamelan instruments on Bali. Other notable instruments include xylophones, bamboo flutes (similar to the Indian ''bansuri''), a bowed string instrument called a ''rebab'' (somewhat similar to the '' gadulka'' of Bulgaria), and a zither-like instrument called a '' siter'', used in Javanese gamelan. Additionally, vocalists may be featured, being referred to as '' sindhen'' for females or '' gerong'' for males.Sumarsam (1998)''Introduction to Javanese Gamelan''. Middletown. Although the popularity of gamelan has declined slightly since the introduction of modern ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Process Music
Process music is music that arises from a process. It may make that process audible to the listener, or the process may be concealed. Primarily begun in the 1960s, diverse composers have employed divergent methods and styles of process. "A 'musical process' as Christensen defines it is a highly complex dynamic phenomenon involving audible structures that evolve in the course of the musical performance ... 2nd order audible developments, i.e., audible developments within audible developments". These processes may involve specific systems of choosing and arranging notes through pitch and time, often involving a long term change with a limited amount of musical material, or transformations of musical events that are already relatively complex in themselves. Steve Reich defines process music not as, "the process of composition but rather pieces of music that are, literally, processes. The distinctive thing about musical processes is that they determine all the note-to-note (sound-t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Additive Rhythm And Divisive Rhythm
In music, the terms ''additive'' and ''divisive'' are used to distinguish two types of both rhythm and meter (music), meter: * A divisive (or, alternately, multiplicative) rhythm is a rhythm in which a larger period of time is divided into smaller rhythmic units or, conversely, some integer unit is regularly multiplied into larger, equal units. * This can be contrasted with additive rhythm, in which larger periods of time are constructed by concatenation, concatenating (joining end to end) a series of units into larger units of unequal length, such as a meter produced by the regular alternation of and . When applied to meters, the terms ''perfect'' and ''imperfect'' are sometimes used as the equivalents of ''divisive'' and ''additive'', respectively . For example, 4 may be evenly divided by 2 or reached by adding 2 + 2. In contrast, 5 is only evenly divisible by 5 and 1 and may be reached by adding 2 or 3. Thus, (or, more commonly, ) is divisive while is additive. The terms ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minimalism
In visual arts, music, and other media, minimalism is an art movement that began in the post-war era in western art. The movement is often interpreted as a reaction to abstract expressionism and modernism; it anticipated contemporary post-minimal art practices, which extend or reflect on minimalism's original objectives. Minimalism's key objectives were to strip away conventional characterizations of art by bringing the importance of the object or the experience a viewer has for the object with minimal mediation from the artist. Prominent artists associated with minimalism include Donald Judd, Agnes Martin, Dan Flavin, Carl Andre, Robert Morris, Anne Truitt, and Frank Stella. Minimalism in music often features repetition and gradual variation, such as the works of La Monte Young, Terry Riley, Steve Reich, Philip Glass, Julius Eastman, and John Adams. The term has also been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stori ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dynamics (music)
In music, the dynamics of a piece are the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. Purpose and interpretation Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling. Dynamic markings are always relative. (''piano'' - "soft") never indicates a precise level of loudness; it merely indicates that music in a passage so marked should be considerably quieter than (''forte'' - "loud"). There are many factors affecting the interpretati ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic Function
In music, function (also referred to as harmonic function) is a term used to denote the relationship of a chord"Function", unsigned article, ''Grove Music Online'', . or a scale degree to a tonal centre. Two main theories of tonal functions exist today: * The German theory created by Hugo Riemann in his ''Vereinfachte Harmonielehre'' of 1893, which soon became an international success (English and Russian translations in 1896, French translation in 1899), and which is the theory of functions properly speaking."It was Riemann who coined the term 'function' in ''Vereinfachte Harmonielehre'' (1893) to describe relations between the dominant and subdominant harmonies and the referential tonic: he borrowed the word from mathematics, where it was used to designate the correlation of two variables, an 'argument' and a 'value'". Brian Hyer, "Tonality", ''Grove Music Online'', . Riemann described three abstract tonal "functions", tonic, dominant and subdominant, denoted by the letters T, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonality
Tonality is the arrangement of pitch (music), pitches and / or chord (music), chords of a musical work in a hierarchy of perceived ''relations'', ''stabilities'', ''attractions'', and ''directionality''. In this hierarchy, the single pitch or the root (music), root of a triad (music), triad with the greatest ''stability'' in a melody or in its harmony is called the tonic (music), ''tonic''. In this context "stability" approximately means that a pitch occurs frequently in a melody – and usually is the final note – or that the pitch often appears in the harmony, even when it is not the pitch used in the melody. The ''root'' of the tonic triad forms the name given to the key (music), key, so in the key of C major, C major the note C can be both the tonic of the scale (music), scale and the root of the tonic triad. However, the tonic can be a different Musical tone, tone in the same scale, and then the work is said to be in one of the mode (music), ''modes'' of that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diatonic Scale
In music theory a diatonic scale is a heptatonic scale, heptatonic (seven-note) scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps. In other words, the half steps are maximally separated from each other. The seven pitch (music), pitches of any diatonic scale can also be obtained by using a Interval cycle, chain of six perfect fifths. For instance, the seven natural (music), natural pitch classes that form the C-major scale can be obtained from a stack of perfect fifths starting from F: :F–C–G–D–A–E–B. Any sequence of seven successive natural notes, such as C–D–E–F–G–A–B, and any Transposition (music), transposition thereof, is a diatonic scale. Modern musical keyboards are designed so that the white-key notes form a diatonic scale, though transpositions of this diatonic scale require one or more black keys. A diaton ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pulse (music)
In music theory, the pulse is a series of uniformly spaced beats—either audible or implied—that sets the tempo and is the scaffolding for the rhythm. By contrast, rhythm is always audible and can depart from the pulse. So while the rhythm may become too difficult for an untrained listener to fully match, nearly any listener instinctively matches the pulse by simply tapping uniformly, despite rhythmic variations in timing of sounds alongside the pulse.Fitch, W. Tecumseh and Rosenfeld, Andrew J. (2007). Definitions The tempo is the speed of the pulse. If a pulse becomes too fast it would become a drone; one that is too slow would be perceived as unconnected sounds.P. Fraisse, ''Les Structures Rhythmiques'', Erasme Paris 1956, H Woodrow ''Time Perception'' in "A Handbook of Experimental Psychology", ed. S.S. Stevens, Wiley, NY 1951, both quoted at http://www.zeuxilogy.home.ro/media/manifesto.pdf zeuxilogy.home.ro) When the period of any continuous beat is faster than 8–10 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
