The Specific Features of the Presentation of the Spatial-Temporal Forms of Minimalism in Music
Article Sidebar
Main Article Content
Abstract
In the article the author demonstrates the specificity of the presentation of the spatial-temporal parameters of minimalism in the music of composers John Cage, Terry Riley, Steve Reich and Philip Glass. Such typical techniques of the minimalists are marked out as repetition, the technique of repetitive canons on a set of patterns combined with the aleatory technique, the technique of “phased shifts,” the loop tape technique, addition, augmentation, rhythmic structuring, the method of binary oppositions, the potential of silence, etc. they make it possible to achieve the most diverse effects in the presentation of the spatial-temporal forms of organization of musical material. Minimalist musical compositions are characterized by a new perception of form-generation, the presence of musical processes in time and space in open forms, active usage of static time and space, expansion and contraction of temporal space, as well as the change of its single-vector directedness.
Keywords: musical minimalism, pattern, repetitive technique
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Dvuzhilnaya I. F. Amerikanskiy muzykalniy minimalism [American Minimalist Music]. Minsk: A. N. Varaksin Press, 2010. 284 p.
3. Dubinets E. A. Made in USA: Muzyka – eto vse, chto zvuchit vokrug [Made in USA: Music is Everything That Sounds Around Us]. Moscow: Kompozitor Press, 2006. 416 p.
4. Zobov R. A., Mostepanenko A. M. O tipologii prostranstvenno-vremennykh otnosheniy v sfere iskusstva [About the Typology of Existential Relations in the Sphere of Art]. Ritm, prostranstvo i vremya v literature i iskusstve [Rhythm, Space and Time in Literature and Art]. Leningrad: Nauka Press, 1974, pp. 11–25.
5. Kagan M. S. Prostranstvo i vremya v iskusstve kak problema esteticheskoy nauki [Space and Time in Art as a Problem of Aesthetical Science]. Ritm, prostranstvo i vremya v literature i iskusstve [Rhythm, Space and Time in Literature and Art]. Leningrad: Nauka Press, 1974, pp. 26–39.
6. Katunyan M. I. Minimalizm i repetitivnaya tekhnika. “Novaya prostota” [Minimalism and the Repetitive Technique. “New Simplicity”]. Teoriya sovremennoy kompozitsii. Ucheb. posob. [The Theory of Modern Composition: Tutorial Manual]. Moscow: Muzyka Press, 2007, pp. 465–487.
7. Keydzh Dzh. Lektsiya o Nichto [Cage J. Lecture on Nathing]. G. I. Suponeva Problemy notatsii v muzyke XX veka [Problems of Notation in the Music of the 20th Century]. N. K. Drozdetskaya. Dzhon Keydzh: tvorcheskiy protsess kak ekologiya zhizni [John Cage: Creative Process as the Ecology of Life]. Moscow: RAM im. Gnesinykh, 1993. 113 p.
8. Kirchik I. M. Problemy analiza muzykalnogo vremeni-prostranstva [Problems of Analysis of the Musical Time-Space]. Muzykalnoe proizvedeniye: sushchnost’, aspekty analiza: Sbornik statey [Music Composition: Essence, Aspects of Analysis: Collected Articles]. Kiev: Muzychna Ukraina Press, 1988, pp. 85–95.
9. Nazaykinskiy E. V. Logika muzykalnoy kompozitsii [The Logic of Musical Composition]. Moscow: Muzyka Press, 1982. 319 p.
10. Krapivina I. V. Problemy formoobrazovaniya v muzykalnom minimalizme: dis. … kand. iskusstvovedeniya [Problems of the Formation in Minimalist Music: Dissertation for the Degree of Candidate of Arts]. Novosibirsk, 2003. 192 p.
11. Krom A. E. Klassicheskaya faza amerikanskogo muzykalnogo minimalizma: dis. … dokt. iskusstvovedeniya [The Classic Phase of American Minimalism in Music: Dissertation for the Degree of Doctor of Arts]. Nizhniy Novgorod, 2011. 456 p.
12. Krom A.E. Muzykalniy minimalism v kontekste amerikanskogo iskusstva XX veka [Minimalism in Music in the Context of the American Art of the 20th Century]. Nizhny Novgorod: O. V. Gladkova Press, 2010. 343 p.
13. Krom A. E. Filosofiya i praktika amerikanskogo muzykalnogo minimalizma: Stiv Raykh: monografiya [The Philosophy and the Practice of American Minimalist Music: Steve Reich: Monograph]. Nizhny Novgorod: O.V. Gladkova Press, 2004. 223 p.
14. Pospelov P. G. Minimalism i repetitivnaya tekhnika: Sravnenie opyta amerikanskoy i sovetskoy muzyki [Minimalism and the Repetitive Technique: A Comparison of the Experiences of American and Soviet Music]. Muzykalnaya akademiya [Musical Academy], 1992, no. 4, pp. 74–82.
15. Tokun E. A. Arvo Pyart. Tintinnabuli: tekhnika i stil: avtoref. dis. … kand. iskusstvovedeniya [Arvo Pärt. Tintinnabuli: Technique and Style: Synopsis of Dissertation for the Degree of Candidate of Arts]. Moscow, 2010. 26 p.
16. Savenko S. I. Problema individualnogo stilya v muzyke postavangarda [The Problem of the Individual Style in the Post-Avant-garde Music]. Krizis burzhsuaznoy kultury i muzyka: Sbornik statey [The Crisis of Bourgeois Culture and Music: Compilation of Articles]. Leningrad: Muzyka Press, 1983, pp. 96–113.
17. Mertens W. American Minimal Music: La Monte Young. Terry Riley. Steve Reich. Philip Glass. London: Kahn &Averill; NY.: Alexander Broude Press, 1983. 128 p.
18. Potter К. Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. N.Y.: Cambridge University Press, 2000. 390 p.
19. Schwarz R. 20th-Century Composers. Minimalists. London: Phaidon Press Limited, 1996. 238 р.