The Ashgate Research Companion to Minimalist and Postminimalist Music (Hardcover)

Contents: Foreword; Introduction: experimental, minimalist, postminimalist? Origins, definitions, communities, Kyle Gann, Keith Potter and Pwyll ap SiA´n; Part I Historical and Regional Perspectives: Mapping early minimalism, Keith Potter; A technically definable stream of postminimalism, its characteristics and its meaning, Kyle Gann; European minimalism and the modernist problem, Maarten Beirens; Systems and other minimalism in Britain, Virginia Anderson. Part II Minimalism and the Theatre: Minimalism in the time-based arts: dance, film and video, Dean Suzuki; From minimalist music to postopera: repetition, representation and (post)modernity in the operas of Philip Glass and Louis Andriessen, Jelena Novak; Accommodating the threat of the machine: the act of repetition in live performance, Jeremy Peyton Jones. Part III Minimalism and Other Media: Minimalism, technology and electronic music, Richard Glover; Minimalist and postminimalist music in multimedia: from the avant-garde to the blockbuster film, Rebecca M. Doran Eaton; Going with the flow: minimalism as cultural practice in the USA since 1945, Robert Fink; Disaffected sounds, temporalized visions: Philip Glass and the audiovisual impulse in postminimalist music, John Richardson and Susanna VA¤limA¤ki. Part IV Analytical and Philosophical Perspectives: Analysing minimalist and postminimalist music: an overview of methodologies, Tristian Evans; Reference and quotation in minimalist and postminimalist music, Pwyll ap SiA´n; Minimalism and narrativity: some stories by Steve Reich, John Pymm; A theoretical model of postminimalism and two brief ’case studies’, Marija Masnikosa. Part V Minimalism and Beyond: Defining ’spiritual minimalism’ David Dies; Minimalism and pop: influence, reaction, consequences, Jonathan W. Bernard; Musical minimalism in Serbia: emergence, beginnings and its creative endeavours, Dragana Stojanovic-Novicic. Part VI Issues of Performance: Clapping Music: a performer’s perspective,