Academic literature on the topic 'Postminimalism'

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Journal articles on the topic "Postminimalism"

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Krom, Anna E. "David Lang’s Postminimalist Musical Theater." Vestnik of Saint Petersburg University. Arts 12, no. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.

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The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019),
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Podhalanski, Boguslaw. "Between Early-Christian Architectural Form and Postminimalism." IOP Conference Series: Materials Science and Engineering 471 (February 24, 2019): 072009. http://dx.doi.org/10.1088/1757-899x/471/7/072009.

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Miller, Carter. "The Postminimal is Political: Social Activism in the Music of Julius Eastman and Ann Southam." Nota Bene: Canadian Undergraduate Journal of Musicology 15, no. 1 (2022): 74–99. http://dx.doi.org/10.5206/notabene.v15i1.15033.

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The emergence of postminimalism around 1980 allowed composers to combine minimalist musical techniques with their own distinct compositional approaches. Some composers, including American Julius Eastman and Canadian Ann Southam, exercised a consciousness-raising approach to composition by infusing their postminimalist works with political messages relevant to the gay liberation and feminist movements of the late twentieth century. In the work Gay Guerrilla (1979), Eastman pursued an original compositional approach, which he called ‘organic music,’ to explore themes of heroism and courage in th
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Bernard, Jonathan W. "Minimalism, Postminimalism, and the Resurgence of Tonality in Recent American Music." American Music 21, no. 1 (2003): 112. http://dx.doi.org/10.2307/3250558.

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Delikta, Wojciech. "O życiu ekscentrycznego pojęcia. Postminimalizm Roberta Pincusa-Wittena." Artium Quaestiones, no. 26 (September 19, 2018): 219–42. http://dx.doi.org/10.14746/aq.2015.26.10.

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Guagnini, Nicolás. "Dan Graham: Pedagogue." October, no. 180 (2022): 133–36. http://dx.doi.org/10.1162/octo_a_00459.

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Abstract Artist and writer Nicolas Guagnini's obituary for his friend Dan Graham deploys the genre's tropes of anecdote and remembrance to elucidate the artist's idiosyncratic pedagogy. Both at the methodological and the art-historical levels these bits of conversations from over more than two decades touch on Graham's position towards his postminimalist peers, his approach to architecture, public space, writing, artistic genealogies, and anthropology.
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Brown, Galen H. "Process as Means and Ends in Minimalist and Postminimalist Music." Perspectives of New Music 48, no. 2 (2010): 180–92. http://dx.doi.org/10.1353/pnm.2010.0000.

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Miklaszewska, Joanna. "Inspiracje polskim folklorem i pieśnią religijną w koncertach fortepianowych Wojciecha Kilara." Roczniki Humanistyczne 70, no. 12 (2022): 199–218. http://dx.doi.org/10.18290/rh227012.13.

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Celem artykułu jest ukazanie związku materiału dźwiękowego oraz warstwy estetycznej koncertów fortepianowych Wojciecha Kilara z tradycją polskiego folkloru oraz polskiej pieśni religijnej i śpiewów liturgicznych. Pod tym kątem zostały przaanalizowane dwa koncerty Kilara na fortepian solo i orkiestrę, powstałe odpowiednio w latach 1996-1997 oraz 2011. Wpływy folkloru są najbardziej wyraźne w II Koncercie fortepianowym, w którym pojawiają się aluzje do pieśni podhalańskich. W obu koncertach Kilara natomiast pojawiają się silne związki materiału dźwiękowego z polską pieśnią religijną oraz śpiewem
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Macé, Pierre-Yves, Giuseppe Frigeni, and David Konopnicki. "La constellation Tzadik : 20 ans/20 disques." Circuit 25, no. 3 (2016): 95–109. http://dx.doi.org/10.7202/1034501ar.

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Sous la forme d’une série de courtes chroniques, cette enquête propose un parcours subjectif à six mains à travers le catalogue de la maison de disques Tzadik. Les trois auteurs, fervents « tzadikologues », ont sélectionné un disque par année, depuis 1995 jusqu’à 2014, en veillant à ce que leur choix rende compte de la totalité des collections qui font la richesse unique de Tzadik (Composer Series, New Japan, Radical Jewish Culture, etc.). À travers les travaux de différents artistes de multiples horizons (Annie Gosfield, Pamelia Kurstin, Many Arms…), cette « constellation » guidera le lecteur
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Fontdevila, Oriol. "La Tableau de Szeemann." Revista SOBRE 3 (June 29, 2017): 87–103. http://dx.doi.org/10.30827/5973.

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La desmitificación de las nociones de arte y de autoría durante los años del arte conceptual está estrechamente relacionada con la aparición de nuevos agentes del campo del arte que subsumieron una función autoral. Es el caso del llamado comisario-autor: prefigurado por Harald Szeemann en 1969, éste nació escasamente dos años después de que Roland Barthes hubiera sugerido la muerte del autor. «La tableau de Szeemann» hipotiza la posibilidad que haya una conexión directa entre ambos sucesos, al mismo tiempo que rastrea los intercambios que se produjeron entre el arte y la mediación bajo el infl
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Dissertations / Theses on the topic "Postminimalism"

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Williams, Nicholas Allan. "Strategies of postminimalism in my recent music." Thesis, University of Huddersfield, 2009. http://eprints.hud.ac.uk/id/eprint/7515/.

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This commentary will consider how I have developed and applied a number of compositional techniques, particularly in the area of rhythm and pulse, which I situate in relationship to postminimalism. In chapter 1 I contextualise my music by considering some manifestations of postminimalism, give the background to the development of my present aesthetic approach, and look at some definitions of postminimalism in order to clarify my own position in relation to both American and European (primarily Dutch) postminimal composition. In chapter 2 I examine the main aspects of my musical language, focus
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Richey, Paul. "Awkward Silence." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2364.

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My work has a strong formal quality and a deep relation to minimalism without ever buying into it. Through tension and inserting my personal experience into the making of the work, but not always within the meaning of the work, I leave the viewer to draw their own conclusions.
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Chai, Joshua John. "POSTMINIMALIST CHORAL MUSIC: A PEDAGOGICAL PERSPECTIVE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/135.

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After the strict processes of mid-twentieth-century minimalism, a new musical style has emerged which retains extensive use of repetition, but is generally more aurally accessible, based in non-functional triadic harmony, and flexible in its compositional structure. Frequent use of non-minimalist resources, musical resources from multiple styles in a single composition, and quotation from previous historical periods define this flexibility. American choral music has many popular compositions that exhibit characteristics of this new musical style, in part because of its accessibility relative t
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Hanson-Dvoracek, Andrew. "Julius Eastman's 1980 residency at Northwestern University." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1226.

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Post-minimalist American composer Julius Eastman's residency at Northwestern University in 1980 provides a rare opportunity to mitigate, if not eliminate, the problems involved in defining his compositional style. Eastman occupies a complex and unlikely position in late twentieth-century music as an openly gay, African-American composer of serious art music who both a member of the Creative Associates at SUNY Buffalo as well as participated in the diverse musical culture of Downtown New York. Eastman's surviving scores are notated in a fragmentary and idiosyncratic fashion and the composer's o
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Gotham, Nicholas. "Form and freedom : the marriage of musical systems and intuition." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7636.

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This thesis includes an Introduction, which explains some of the ideas and procedures involved in a series of compositions I produced during the period from October, 2008 through November, 2011, a discussion of the works themselves individually and in roughly the same chronological order in which they were composed, and a summary of Conclusions which may be drawn. Included as an Appendix are texts for reference while listening to the vocal works. Complete scores of the works with representative recordings make up the main body of the thesis, except in the case of the solo piano suite Equilibri
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Govan, Hugh. "Baroque Postminimalism : the problem of style in the work of Robert Smithson, Robert Morris and Gordon Matta-Clark (1965-1980)." Thesis, University of Essex, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702725.

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In this thesis, I look at the reception of the Baroque in U.S. art of the late 20th Century, with a particular focus on the expanded sculptural situations of Postminimal art in the mid-late Sixties and Seventies. The Baroque is a surprising, though productive, theme in this area, for how it reveals the transformations in attitudes to style in art, art history and art criticism during this time. I first of all look at what is at stake in differentiating between Mannerism and the Baroque in the late 60s, through a close reading of the art historical sources in the work and writing of the artist
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Davidson, Robert A. "Folio of compositions with critical commentary." Thesis, University of Queensland, 2001. https://eprints.qut.edu.au/6034/1/6034_v1.pdf.

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Folio of original music compositions and critical commentary. Thesis PhD completed 2001: University of Queensland, School of Music. The thesis is contained within 2 volumes: [v.1] Folio of compositions and critical commentary -- [v.2] Folio of compositions.
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Vainio, Sabrina. "PLACE TO FORGIVE." Thesis, Konstfack, Keramik & Glas, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6261.

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A text about the difficulties of letting go of worries and forgiving oneself. This is discussed through the practice of mindfulness and the ritual as an artistic process. Dedicating time and acknowledging the present generates presence, visible in the artistic objects. The method of Collage reflects this through piece by piece building stronger artwork and a stronger self.
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Bauer, Cornelius. "Postminimalismus als kompositorischer Ansatz analytische Untersuchungen am Werk John Adams', Michael Torkes und Louis Andriessens bis ca. 1995." Regensburg Roderer, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2793678&prov=M&dok_var=1&dok_ext=htm.

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Bauer, Cornelius. "Postminimalismus als kompositorischer Ansatz : analytische Untersuchungen am Werk John Adams', Michael Torkes und Louis Andriessens bis ca. 1995." Regensburg Roderer, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2793678&prov=M&dokv̲ar=1&doke̲xt=htm.

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Books on the topic "Postminimalism"

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Postminimalism into maximalism: American art, 1966-1986. UMI Research Press, 1987.

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Pincus-Witten, Robert. Postminimalism into maximalism: American art, 1966-1986. UMI Research Press, 1986.

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Bauer, Cornelius. Postminimalismus als kompositorischer Ansatz: Analytische Untersuchungen am Werk John Adam's [i.e., Adams'], Michael Torkes und Loius [i.e., Louis] Andriessens bis ca. 1995. S. Roderer, 2006.

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Serielle Verfahren. Pop Art, Minimal Art, Conceptual Art und Postminimalism. Reimer, 2003.

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Anderson, Virginia, ed. Interviews with American Composers. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252043994.001.0001.

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This collection of interviews, published for the first time, advances our knowledge of musical thought, technique, education, life, and work in American composition in and around 1972. That year the composer Barney Childs began to conduct a series of interviews (or “conversations,” as he called them) with a diverse set of American new music composers who were then around thirty-forty years old. The composers determined the topics and content of the conversations, resulting in honest assessments of their concerns at the time of the interview, delivered with personal observations, humor, and pas
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Ashgate Research Companion to Minimalist and Postminimalist Music. Taylor & Francis Group, 2013.

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Gibbons, William. Unlimited Replays. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.001.0001.

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This book explores the intersections of values and meanings in two types of replay: where video games meet classical music, and vice versa. From the bleeps and bloops of 1980s arcades to the world’s most prestigious concert halls, classical music and video games have a long history together. Medieval chant, classical symphonies, postminimalist film scores, and everything in between fill the soundtracks of many video games, while world-renowned orchestras frequently perform concerts of game music to sold-out audiences. Yet combining video games and classical music also presents a challenge to t
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Book chapters on the topic "Postminimalism"

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Sandler, Irving. "Postminimalism." In Art of the Postmodern Era. Routledge, 2018. http://dx.doi.org/10.4324/9780429502194-2.

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Maizels, Michael. "Minor Saint of Postminimalism." In Barry Le Va. University of Minnesota Press, 2015. http://dx.doi.org/10.5749/minnesota/9780816694686.003.0006.

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"Glass, Postminimalism and the Media: Initial Questions and Contexts." In Shared Meanings in the Film Music of Philip Glass. Routledge, 2016. http://dx.doi.org/10.4324/9781315608877-7.

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"A Theoretical Model of Postminimalism and Two Brief ‘Case Studies’." In The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315613260-27.

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"A Technically Definable Stream of Postminimalism, Its Characteristics and Its Meaning." In The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315613260-11.

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"Introduction: experimental, minimalist, postminimalist? Origins, definitions, communities." In The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315613260-8.

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"Reference and Quotation in Minimalist and Postminimalist Music." In The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315613260-25.

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"Analysing Minimalist and Postminimalist Music: an overview of methodologies." In The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315613260-24.

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"Mapping Early Minimalism." In The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315613260-10.

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"European Minimalism and the Modernist Problem." In The Ashgate Research Companion to Minimalist and Postminimalist Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315613260-12.

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