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By Robert Fink

The place did musical minimalism come from--and what does it suggest? during this major revisionist account of minimalist song, Robert Fink connects repetitive song to the postwar evolution of an American mass buyer society. leaving behind the ingrained formalism of minimalist aesthetics, Repeating Ourselves considers the cultural value of yank repetitive song exemplified via composers corresponding to Terry Riley, Steve Reich, and Philip Glass. Fink juxtaposes repetitive minimum tune with Seventies disco; assesses it in terms of the promoting constitution of mass-media ads campaigns; strains it again to the ideas in hi-fi expertise that became baroque concertos into ambient "easy listening"; and appraises its meditative kinship to the non secular course of musical mastery provided by way of Japan's Suzuki approach to expertise schooling.

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Extra info for Repeating Ourselves: American Minimal Music as Cultural Practice

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Man is no longer to be the measure of all things, the center of the universe. . His goals and purposes, his egocentric notions of past, present, and future; all these are called into question. ”24 For Meyer the difference between the teleological and the anti-teleological is necessarily absolute, since the two aesthetics represent two fundamentally opposed views of man and the cosmos. The epistemological rigor was unimpeachable in 1963, mobilized to explain one specific, extreme case: the radical aleatoricism of John Cage and his immediate followers.

25 Nyman believed as strongly in the absolute division between an experimental avant-garde and what he calls “modernist” compositional ideology as did Meyer. In his version experimental music replaces the teleology of the “time-object” with the antiteleology of the “process”: “Experimental composers are by and large not concerned with prescribing a defined timeobject whose materials, structuring and relationships are calculated and arranged in advance, but are more excited by the prospect of outlining .

All of which may seem a needlessly salacious way of leading into the two albums discussed here. But, in fact, these works by Steve Reich and Philip Glass are the newest and best representatives of what has been called “trance music,” and trance music is nothing less than the adaptation of non-Western notions of musical stasis to a highly organized, rhythmic, structured Western sensibility. D O I T ( ’ T I L YO U ’ R E S AT I S F I E D ) / 3 5 The result isn’t just a new kind of classical music.

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