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Journal articles on the topic 'Postminimalism'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

KAPUSTA, JOHN. "The Self-Actualization of John Adams." Journal of the Society for American Music 12, no. 3 (2018): 317–44. http://dx.doi.org/10.1017/s1752196318000184.

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AbstractIn the late 1960s, the prominent psychologist Abraham Maslow argued that music-making was an inherently bodily activity, which like sex, could induce what Maslow called “peak experiences”—moments of mystical transcendence and personal insight. Amass enough such peak experiences, Maslow suggested, and one could achieve “self-actualization”—the full realization of one's potential as a human being. This article argues that though many musicians would heed Maslow's words, few embodied Maslow's program more than composer John Coolidge Adams did in the late 1970s. The article shows how Maslo

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12

Rutherford-Johnson, Tim. "The Ashgate Research Companion to Minimalist and Postminimalist Music edited by Keith Potter, Kyle Gann and Pwyll ap Siôn. Ashgate, 2103. £85.00." Tempo 68, no. 270 (2014): 102–5. http://dx.doi.org/10.1017/s0040298214000552.

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13

Nickleson, Patrick. "Keith Potter, Kyle Gann, and Pwyll Ap Siôn, eds. 2013. The Ashgate Research Companion to Minimalist and Postminimalist Music. Burlington VT: Ashgate. 458 pp. ISBN 978-1-4724-0278-3 (ebook), ISBN 978-1-4094-3549-5 (cloth). ISBN 978-1-4094-3550-1 (PDF)." Intersections: Canadian Journal of Music 33, no. 2 (2013): 172. http://dx.doi.org/10.7202/1032704ar.

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14

"The Ashgate Research Companion to Minimalist and Postminimalist Music." Reference Reviews 29, no. 2 (2015): 36–37. http://dx.doi.org/10.1108/rr-10-2014-0290.

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15

Miklaszewska, Joanna. "„Błogosławione pieśni malinowe. Fragmenty Norwidowskie” op. 43 Henryka Mikołaja Góreckiego – inspiracje, konteksty, determinanty stylistyczne." Studia Chopinowski, no. 2/2021 (8) (September 5, 2022). http://dx.doi.org/10.56693/sch.2021.02.02.

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Henryk Mikołaj Górecki’s Blessed Raspberry Songs. Norwid Fragments, Op. 43: inspirations, contexts and stylistic determinants Norwid’s inspirations in the works of Henryk Mikołaj Górecki were expressed in the 1980 cycle of Blessed Raspberry Songs. Norwid fragments for voice and piano op. 43. The aim of the article is to analyze the textual and musical layer of the work and to show the meaning of these songs against the background of Polish music at the turn of the 70s and 80s of the twentieth century. The cycle Blessed Raspberry Songs consists of four songs: 1. Blessed raspberry songs, 2. Each

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16

Jurkowski, Edward. "The Ashgate Research Companion to Minimalist and Postminimalist Music (Book Review)." CAML Review / Revue de l'ACBM 42, no. 3 (2014). http://dx.doi.org/10.25071/1708-6701.39680.

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