giovedì 10 novembre 2016

14 BEETHOVEN WAS WRONG pt2 Bop, Rock, and the Minimalists - alex ross the rest is noise

West Coast MinimalismRead more at location 9326
Note: T Edit
Minimalism proper begins with La Monte Young, the master of the drone.Read more at location 9327
music of the wide-open landscape—the microtonal chords of power lines, the harsh tones of drills and lathes, the wailing of far-off trains, the buzzing songs of grasshoppers, the sound of the wind moving over Utah Lake and whistling through the cracks of his parents’ log cabin.Read more at location 9328
Note: x MUSICA DI LAMONT Edit
“sense of space, sense of time, sense of reverie,Read more at location 9331
things could take a long time,Read more at location 9331
he slowed the pace of events in the twelve-tone cosmos,Read more at location 9337
Note: APPROCCIO ALLA SERIALITÀ SIMILE A FELDMAN Edit
Twelve-tone writing became something like Tai Chi, combat in slow motion.Read more at location 9338
headlong momentum of continental drift.Read more at location 9340
Events move so slowly that you can no longer detect the twelve-toneRead more at location 9344
sounding for minutes on end and then dying away ppppp.Read more at location 9346
Under Cage’s influence Young veered toward conceptual art:Read more at location 9350
Composition 1960 #10: Draw a straight line and follow it.   Composition 1960 #15: This piece is little whirl pools out in the middle of the ocean.   Piano Piece for David Tudor #3: Most of them were very old grasshoppers.Read more at location 9353
Note: X ESEMPIO DI PARTITURE CONCETTUALI Edit
Young curated a series of concerts at the downtown loft of the expatriate Japanese artist Yoko Ono,Read more at location 9359
married to the avant-garde composer Toshi Ichiyanagi.Read more at location 9359
from being a Webern disciple to a sort of musical shaman.Read more at location 9360
experimenting with drugs,Read more at location 9361
exploration of Indian music,Read more at location 9363
(His guru in later years was the North Indian classical singer Pandit Pran Nath.)Read more at location 9363
Composition 1960 #7,Read more at location 9364
takes off where Trio for Strings left off, with the sound of an open fifth. The score consists of the notes B and F-sharp, below which is the instruction “To be held for a long time.”Read more at location 9365
Note: x DESCRIZ DEL PEZZO Edit
dropped notated compositionRead more at location 9366
evening-length ritual improvisations,Read more at location 9367
Theatre of Eternal Music.Read more at location 9367
This led to a tetralogy called The Four Dreams of China, each part of which was based on different arrangements of the pitches C, F-natural, F-sharp, and G. The performers were Young, who played sopranino saxophone; Young’s companion Marian Zazeela, who sang or intoned; the musician-poet Angus MacLise, who beat African rhythms on bongos; and, particularly critical in the evolution of the sound, the violinist-composer Tony Conrad, who had studied up on the just-intonation music of Harry Partch, Lou Harrison, and Ben Johnston. Later in 1963 the group took in the young Welsh composer John Cale, who strung a viola with electric-guitar strings and let loose drones of incomparable roaring power.Read more at location 9369
Note: X MUSICA ETERNA Edit
the free jazz of Sun Ra and Albert Ayler came close.Read more at location 9375
guru styleRead more at location 9376
Terry Riley’s contribution was to add the sweet sound of triads to the long-tone process. This move completed the minimalist metamorphosis. An easygoing character of the rural-hippie type, Riley grew up in the foothills of the Sierra Nevada. He met Young in 1958 while studying at Berkeley.Read more at location 9379
Note: x L ENTRATA IN SCENA DI RILEY Edit
not having to press ahead to create interest.”Read more at location 9382
marijuana and mescaline.Read more at location 9382
Riley’s first tape-loop work was called Mescalin Mix.Read more at location 9386
“time-lag accumulation technique”Read more at location 9390
he decided to mix it with live performance.Read more at location 9391
hooked up with the jazz trumpeter Chet Baker,Read more at location 9391
Note: APPENA USCITO DI GALERA X EROINA Edit
improvised an accompaniment to Ken Dewey’s play The Gift. The tune they jammed on was, naturally, Miles Davis’s “So What.”Read more at location 9392
in February 1964, Riley heard the Theatre of Eternal Music in New YorkRead more at location 9394
He then set to work on an instrumental piece that would unite static drones and busy loops, that would somehow move quickly and slowly at the same time. The score took the form of a chart of fifty-three “modules,” or brief motivic figures. Each player in the ensemble is instructed to proceed from one module to the next at his or her own pace, tailoring the music to the needs of the instrument and the desires of the moment. The modules derive from the seven notes of the C-major scale, with a few F-sharps and B-flats thrown in for good measure. No matter what choices are made in performance, the harmony tends to move into E minor in the middle and into G major (the dominant of C) toward the end, with the B-flats supplying a touch of blues at the close. Tying the whole thing together is a pair of high Cs on the piano, pulsing without variation from beginning to end.Read more at location 9394
Note: x DESCRIZIONE DI IN C Edit
Alfred Frankenstein, the broad-minded critic of the San Francisco Chronicle,Read more at location 9401
“Climaxes of great sonority and high complexity appear and are dissolved in the endlessness. At times you feel you have never done anything all your life long but listen to this music and as if that is all there is or ever will be.”Read more at location 9402
Note: x LA CRITICA SU IN C Edit
Playing electric piano that night was the twenty-eight-year-old Steve Reich.Read more at location 9404
It was Reich’s idea to introduce the chiming Cs and thus to organize the piece aroundRead more at location 9406
Riley’s lust for liberation and Reich’s liking for order—anticipatedRead more at location 9407
Riley threw himself into hippie culture,Read more at location 9408
Liner notes for his 1969 album A Rainbow in Curved AirRead more at location 9409
“the Pentagon was turned on its side and painted purple, yellow & green … The concept of work was forgotten.”Read more at location 9410
Note: x NOTE ALL ALBUM Edit
made minimalism a rapid-fire urban discourse.Read more at location 9411
Note: L ALTRA STRADA DI REICH Edit
New York MinimalismRead more at location 9412
Note: T Edit
The composer does not look the part of a musical revolutionist.Read more at location 9414
Note: REICH Edit
1995 work City LifeRead more at location 9418
the world through Reich’s ears:Read more at location 9419
the hidden melodies of overheard conversations and the rhythms of pile drivers melt together into a smoothly flowing five-movement composition, a digital symphony of the street.Read more at location 9419
Note: x IL MONDO SONORO DI REICH Edit
the clickety-clack of wheels on rails helped shape his rhythmic sense.Read more at location 9423
Note: SPOLA IN TRENO NY LA TRA I GENITORI DIVORZIATI Edit
Reich grew up listening to music on recordings.Read more at location 9427
Bach’s Fifth Brandenburg Concerto, Stravinsky’s Rite of Spring, and bebop records featuring Charlie Parker, Miles Davis, and Kenny Clarke played nonstop on his turntable.Read more at location 9427
Note: x CULTURA DA GIRADISCHI Edit
majoring in philosophy at Cornell,Read more at location 9428
studied composition at Juilliard,Read more at location 9429
Feeling the call of West Coast freedom,Read more at location 9429
music school at Mills College.Read more at location 9430
Although Darius Milhaud was then the dominant presence on the Mills faculty, the principal attraction for a jumpy young composer such as Reich was Luciano Berio, who was a visiting professor in the early sixties. Impressed by the intellectual force in the twelve-tone method, Reich spent his days analyzing Webern scores under Berio’s tutelage.Read more at location 9430
Note: x MILL COLLEGE Edit
Yet tonal harmonies kept cropping up in his works,Read more at location 9432
prompting the undogmatic Berio to say to him, “If you want to write tonal music, why don’t you write tonal music?”Read more at location 9433
Note: x ANTIDOGMATISMO DI BERIO Edit
seeing John Coltrane at least fifty times.Read more at location 9434
78-rpm recordings of polyrhythmic African drummingRead more at location 9435
With two other Berio students, Phil Lesh and Tom Constanten, Reich formed an improvisation groupRead more at location 9438
drove a taxi and worked at the post office.Read more at location 9441
Note: MASTERIZZATO ESCE DAL MONDO ACCADEMICO Edit
In San Francisco’s Union Square, he recorded a Pentecostal preacherRead more at location 9443
Note: TRAFFICONE COI NASTRI Edit
sermonizing on the subject of NoahRead more at location 9443
God] began to warn the people. He said, ‘After a while, it’s gonna rain, after a while, for forty days and for forty nights.’ And the people didn’t believe him, and they began to laugh at him, and they began to mock him, and they began to say, ‘It ain’t gonna rain!’”Read more at location 9444
Note: x PREDICA Edit
One tape was playing slightly faster than the other, so that the unison began to break up into a phasing pattern: “It’s-s gonna-a rain-n! It’s-’s gonn-nna rai-in! It’s-t’s gonna-onna rai-ain! It’s-it’s gonna-gonna rain-rain!”Read more at location 9453
Note: x CASUALE FENOMENO SUI DUE REGISTRATORI Edit
physical reactionRead more at location 9456
“It’s an acoustical reality that if you hear one sound a fraction of a second after another it appears to be directional,”Read more at location 9456
Note: x FISICA DEL SUONO Edit
sound was going over to my left ear and coming down my left shoulderRead more at location 9457
intricacy of the rhythmic patternsRead more at location 9459
Mime TroupeRead more at location 9463
Note: IL GRUPPO A CUI SI UNÌ Edit
Bill Graham, the business manager of the Mime Troupe, saw the commercial possibilities of new bands like Jefferson Airplane, the Warlocks, and the Mothers of Invention.Read more at location 9464
Note: x GLI ESITI Edit
Lesh, his mind forever altered by a night during which he had tripped on LSD while listening to Mahler’s Sixth Symphony at high volume, abandoned composition to play bass for the Warlocks, who later became the Grateful Dead.Read more at location 9466
Note: c Edit
Reich grew uneasy with the scene.Read more at location 9468
In September 1965 he returned to New York,Read more at location 9469
Reich contemplated the mechanics of his phasing procedure.Read more at location 9470
the machines essentially wrote It’s Gonna Rain by themselves,Read more at location 9471
American works of the sixties and seventies were created this way, with the composer setting up a musical situation and sitting back to observe the outcome; it was an attitude that originated with Cage, the master of coordinated accidents. The English composer Michael Nyman, in his book Experimental Music, dubbed minimalism a sub-species of “process” music, classifying it alongside the chance processes of Cage, the “people processes” of Frederic Rzewski (players going through their parts at their own speeds), and the electronic processes of Lucier and Ashley.Read more at location 9472
Note: x MUSICA COME PROCESSO AUTONOMO Edit
Composers immediately grasped all kinds of opportunities—temptations,Read more at location 9477
Note: ..... Edit
to interfereRead more at location 9477
Come Out, Reich made use of another angry African-American voice, that of Daniel Hamm,Read more at location 9479
Note: COME OUT L OPERA SUCCESSIVA Edit
boys who were beaten up in a Harlem police precinctRead more at location 9480
“I had to, like, open the bruise up and let some of the bruise blood come out to show them,” Hamm said on tape. Reich isolated the phrase “come out to show them.” Again, the loops go out of phase, splitting onto four channels and then onto eight. After a while the words become unintelligible, although the pitches inherent in them—E-flat, C, D, C—persist. You are essentially listening to an electronic canon for eight seething voices in the key of C minor.Read more at location 9480
Note: x COME OUT Edit
he decided to transpose the going-out-of-phase effect to instrumental music.Read more at location 9486
Reich spelled out his new aesthetic in a terse essay titled “Music as a Gradual Process.”Read more at location 9495
“I am interested in perceptible processes,” he wrote. “I want to be able to hear the process happening throughout the sounding music.”Read more at location 9495
Note: x ESTETICA Edit
philosophy differs starkly from the thinking inherent in Boulez’s total serialism and Cage’s I Ching pieces, where process works behind the scenes, like a spy network employing front organizations.Read more at location 9497
Note: c DISTANZE DA BOULEZ E CAGE Edit
Recognizable in it are multiple tracesRead more at location 9499
modal jazz, psychedelic trance, the lyrical rage of African-American protest, the sexy bounce of rock ’n’ roll.Read more at location 9499
“All music turns out to be ethnic music.”Read more at location 9502
In 1968 and 1969, the culture tilted toward chaos and madness.Read more at location 9504
assassinations of Robert Kennedy and Martin Luther King,Read more at location 9505
Vietnam,Read more at location 9505
Charles MansonRead more at location 9508
Reich conceived Four Organs,Read more at location 9509
end-of-the-world piece.Read more at location 9510
electric organs of the title are amplified at full volume,Read more at location 9510
a crushing mass.Read more at location 9511
The piece is rooted in a set of six notes that sound like a big dominant-eleventh chord on E, one that longs for resolution to the key of A. As maracas provide a steady pulse in 11/8 meter, the notes of the chord are prolonged by degrees and the harmony rotates this way and that. After many changes, it comes to rest on E and A.Read more at location 9511
Note: x DESCRIZIONE DI FOER ORGAN Edit
Reich needed to find a new breed of performersRead more at location 9523
his own ensemble,Read more at location 9524
The group acted more like a jazz combo than a purebred classical ensemble.Read more at location 9525
Like his hero Coltrane, Reich could rent a space, perform, pack up, and walk into the night.Read more at location 9526
artist Sol LeWitt and the sculptors Richard Serra and Donald Judd—respondedRead more at location 9530
Note: COMPAGNI Edit
Minimalist painting and sculpture remained arts of abstraction. Minimalist music, with its restoration of tonality, rejected abstraction and often came closer to the spirit of the Pop Art of Robert Rauschenberg, Roy Lichtenstein, and Andy Warhol. That resemblance was especially strong in the music of Philip Glass, which gives off a kind of Times Square neon glow.Read more at location 9534
Note: x DIFFERENZE CON LA PITTURA Edit
neoclassical technique at Juilliard, taken Darius Milhaud’s summer class in AspenRead more at location 9538
Note: GLASS CURRICULUM Edit
European avant-garde did nothing for Glass.Read more at location 9539
“a wasteland, dominated by these maniacs, these creeps, who were trying to make everyone write this crazy creepy music.”Read more at location 9540
Note: x GLASS SUI SERIALI Edit
non-Western musics, and in particular to Indian music.Read more at location 9541
working with the sitarist Ravi ShankarRead more at location 9541
he began to think, as Indian improvisers do, in terms of recurring cycles of tones,Read more at location 9542
Only when Glass encountered Reich’s music, however, did his new style come into focus.Read more at location 9544
Glass developed his own technique of variation:Read more at location 9547
in place of patterns shifting in and out of phase, Glass introduced constant rhythmic change, adding or subtracting notes in the style of Indian music. Segments of a phrase would also repeat themselves by rising multiples—three times, four times, five times, six times—before contracting toward a more manageable size.Read more at location 9547
Note: x LA TECNICA DI VARIAZIONE Edit
Glass made his living outside academia, driving taxis and doing odd jobs.Read more at location 9550
worked as a plumber, and one day installed a dishwasher in the apartment of the art critic Robert Hughes,Read more at location 9551
the Philip Glass Ensemble had the extrovert energy of a rock band.Read more at location 9555
Note: IL SUO ENSEMBLE Edit
a level of popular recognition that no modern composer since Stravinsky had enjoyed.Read more at location 9556
Glass and Reich quarreled over who had done what firstRead more at location 9558
maddening thoroughness on the basic mechanism of repetition,Read more at location 9562
Note: UN PO ESASPERATO Edit
the monumental cycle Music in Twelve Parts,Read more at location 9568
four hours.Read more at location 9569
summed up his various methods to date,Read more at location 9569
The end point of Glass’s early phase was the theater event Einstein on the Beach, created in 1975 and 1976 in collaboration with the director Robert Wilson. It is opera without plot, a conceptual piece held together by recurring visual motifs and found-object texts. Singers chant numbers and “do re mi”; a Civil War–era locomotive inches across the stage; a cryptic courtroom scene features an elderly judge speaking poor French; an Einstein figure saws on a violin; a dancer soliloquizes about the “prematurely air-conditioned supermarket”; the lineup of the New York station WABC is recited; three of the four Beatles are named (no Ringo); a beam of light described as a bed tilts upward for twenty minutes; and some sort of spaceship arrives at the end. There are echoes of past musical styles, but from a cosmic distance: quasi-Bachian organ solos, nondenominational church choirs, Alberti bass accompaniments swirling around like lost pages of Mozart.Read more at location 9572
Note: x EINSTEIN Edit
a new kind of theater.Read more at location 9581
Metropolitan Opera, which had been booked for the occasion.Read more at location 9582
performances were sold out,Read more at location 9582
but the composer emerged from the experience ninety thousand dollars in debt, and for a while he went back to driving his cab.Read more at location 9582
Note: x L AFFARE ECONOMICA Edit
Downtown music had entered a phase that might be called grand minimalism.Read more at location 9584
Large-scale structures and modulatory schemes ascended toward moments of transcendence. Perhaps Beethoven wasn’t so wrong after all.Read more at location 9584
Note: x DEF MINIMALISMO Edit
Reich went to Ghana to study with the master drummer Gideon Alorwoyie,Read more at location 9586
play the polyrhythmsRead more at location 9586
The result was Drumming,Read more at location 9588
ninety-minuteRead more at location 9588
Knowing that the phasing processes would not sustain a piece of such length, Reich added other devices to his armory, including a technique of setting up repeating patterns with alternating beats and rests and then slowly filling in the rests with beats. He also enriched his palette of timbres, supplementing an array of percussion with female voices and a piccolo. The drama of Drumming is the transfer of molten material from one group to another: the pummeling tones of bongo drums give way to the mesmerizing patter of marimbas, and then to the higher-pitched chiming of glockenspiels.Read more at location 9589
Note: DRUMMING Edit
In his next piece, Music for 18 Musicians,Read more at location 9594
a fine-tuned minimalist orchestra.Read more at location 9595
Here the fascination of rhythm is joined to a comparably sophisticated drama of harmony: at the core of the piece is a cycle of eleven chords, each of which underpins a section from two to seven minutes in length. Early on, bass instruments touch repeatedly on a low D, giving the feeling that this is the work’s fundamental level. But in Section V, the midpoint of the structure, the bass clarinets and cello lower the floor from D to C-sharp—a crucial alteration in the physical space of the music. The harmony sinks toward F-sharp or C-sharp minor, and rugged six-note figures burrow in. A similar change in the weather darkens Section IX, which is almost expressionistic in its stabbing intensity. Only at the very end do bright D-and A-major-ish chords clear the air.Read more at location 9595
Note: x DESCR DI MUSIC Edit
In the seventies the downtown Manhattan scene reached an apex of cool.Read more at location 9603
Note: EPOCA D ORO Edit
The singer-composer-dancer Meredith Monk manipulated the extremes of her voice to produce the illusion of an Ur–folkRead more at location 9606
Note: x ARTISTI Edit
Frederic Rzewski wrote The People United Will Never Be Defeated!—a massive, hour-long sequence of variations on a Chilean revolutionary song, in heaven-storming, semi-Romantic, virtuoso style.Read more at location 9607
Note: c Edit
Rock ’n’ Roll MinimalismRead more at location 9616
Note: T Edit
a chain of connections.Read more at location 9617
Schoenberg invented the twelve-tone row; Webern found a secret stillness in its patterns; Cage and Feldman abandoned the row and accentuated the stillness; Young slowed down the row and rendered it hypnotic; Riley pulled the long tones toward tonality; Reich systematized the process and gave it depth of field; Glass gave it motorized momentum.Read more at location 9617
Note: x LA CATENA Edit
popular artists, headed by the Velvet Underground, carried the minimalist ideaRead more at location 9620
Reich had a lot of pop ringing in his ears.Read more at location 9623
The Velvet Underground essentially took the form of a musical conversation between Lou Reed, a poet turned songwriter with an achingly decadent voice, and John Cale, the droning violist of La Monte Young’s Theatre of Eternal Music.Read more at location 9629
Note: x VELVET Edit
he studied at Goldsmiths College in London with Humphrey Searle, a pupil of Webern’s;Read more at location 9631
Note: CALE Edit
conceptual composition in the vein of Cage, Fluxus,Read more at location 9632
rode to New York with Xenakis;Read more at location 9633
playing in John Cage’s marathon performance of Satie’s Vexations;Read more at location 9634
joined Young’s ensemble.Read more at location 9635
At the time he was writing kitsch songs for a company called Pickwick Records. For reasons that remain obscure, Pickwick hired three Eternal Music performers—Cale, Tony Conrad, and the drummer-sculptor Walter De Maria—to assist Reed in performing a would-be novelty hit called “The Ostrich.” It went nowhere, but the Eternal musicians got along with Reed, who was independently experimenting with novel tunings and modes. The first Reed-Cale band was called the Primitives. A little later, with Sterling Morrison on guitar and the Eternal Music percussionist Angus MacLise on drums, they became the Velvet Underground.Read more at location 9637
Note: x LOU REED Edit
caught the ear of Andy Warhol,Read more at location 9644
plugged the band into a multimedia event called the Exploding Plastic Inevitable.Read more at location 9644
An album finally emerged in 1967,Read more at location 9645
The Velvet Underground & NicoRead more at location 9646
one of the most beautifully daring rock records ever made.Read more at location 9646
La Monte’s everlasting fifth (“To be held for a long time”) is all over The Velvet Underground & Nico. It hums in back of “All Tomorrow’s Parties,” stamps beneath the bluesy “I’m Waiting for the Man,” flickers in the stream of consciousness of “The Black Angel’s Death Song.” Other songs gravitate to blues, rock ’n’ roll, and Tin Pan Alley forms, but with a flat, unsentimental affect.Read more at location 9647
Note: x DESCRIZ DELL ALBUM Edit
In the seven-minute onslaught of “Heroin,” at the end of side A of the LP, a held note sets a deceptively calming tone. Maureen Tucker lays down a purring pattern of tom-tom and bass-drum beats. Cale’s viola kicks in with an open fifth. Reed’s lyrics evoke the eerie peacefulness of a junkie absorbed in the task of sending himself into oblivion. Later, the drone splinters apart into a storm of micro-tonal, electric-Xenakis noise, as Reed looks around with contemptuous sorrow at a world of “politicians making crazy sounds” and “dead bodies piled up in mounds.”Read more at location 9652
Note: c Edit
Velvet Underground had closed the gap between rock and the avant-garde.Read more at location 9656
After the Velvets came Brian Eno,Read more at location 9657
Eno’s early musical loves were John Cage and La Monte Young;Read more at location 9658
Reichian phasing effects appear on the second Roxy Music album, For Your Plea sure,Read more at location 9664
Eno broke away to become a solo artist, superstar record producer, record-label entrepreneur, sound theorist, and freelance composer. Under the influence of the minimalists, he propagated the genre of “ambient” music—music that floats at the edge of the listener’s consciousness, weightless and pristine.Read more at location 9665
Note: x ENO Edit
David Bowie.Read more at location 9668
On his mid-seventies albums Station to Station, Low, and Heroes, Bowie abandoned A-B-A pop-song structure in favor of semi-minimalist forms characterized by dry attacks and rapid pulses.Read more at location 9669
Note: x BOWIE E IL MINIMALISMO Edit
Terry Riley got a nod from the Who, who learned tricks from his solo electronic improvisations and worked his name into the title of their teenage-wasteland anthem “Baba O’Riley.”Read more at location 9671
Note: X RILEY E GLI WHO Edit
The great New York post-punk band Sonic Youth has a distinguished minimalist ancestry; its two lead guitarists, Thurston Moore and Lee Ranaldo, first met while playing in an electric-guitar orchestra organized by the downtown composer Glenn Branca, a committed Reich and Glass fan.Read more at location 9673
Note: x SONIC YOUTH E GLENN BRANCA Edit
Lacking instruments of their own, rappers from America’s ruined inner cities built up tracks by playing fragments on turntables, placing themselves in a circuitous line of descent that goes back, by way of Cage’s Imaginary Landscape No. 1, to Wolpe and Hindemith’s phonograph concerts in pre-Nazi Berlin.Read more at location 9676
Note: x HIP HOP E IL GIRSDISVHI VOME STRUMENTO Edit
Public Enemy’s “Welcome to the Terrordome” is the Rite of Spring of black America.Read more at location 9679
Hip-hop relies on the speaking voice, but, as Janáček, Partch, and Reich demonstrated at different times, the speaking voice has music in it.Read more at location 9680
Note: x MUSICA NELLA VOCE Edit
“Repetition is a form of change,” Brian Eno once said,Read more at location 9685
Robert Fink,Read more at location 9687
minimalism often mimics the sped-up, numbed-out repetitions of consumer culture, the incessant iteration of commercial jingles on TV. But he argues that the minimalists deliver a kind of silent critique of the world as it is. They locate depths in surfaces, slowness in rapid motion. Borrowing a neologism from the musicologist Christopher Small, Fink writes: “Repetitive musicking rarely expresses a longing for authentic relationships that don’t exist, and in this way has at least the virtue of honesty that more traditionally avant-garde musicking often lacks. More often repetitive music provides an acknowledgment, a warning, a defense—or even just an aesthetic thrill—in the face of the myriad repetitive relationships that, in late-capitalist consumer society, we all must face over and over (and over and over … ). We repeated ourselves into this culture. We might be able to repeat ourselves out.”Read more at location 9688
Note: x ROBERT FINK SUL MINIMALISMO Edit