Category: Composition

Time, eternity and the problem of minimal music’s alleged non-linearity in Louis Andriessen’s De Tijd

This article explores contrasts between time and eternity in Louis Andriessen’s De Tijd from 1981. The music, although inspired by the experience of “complete tranquility”, appears to establish a dialectical opposition between musical elements signifying timelessness and measured time.

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Looking inward: La Monte Young, Arvo Pärt, and the spatiotemporal dwelling environment of minimalist music

There is a thread of epistemic theory connecting the discourse of twentieth-century aesthetics and phenomenology which asserts that works of art open up or disclose a sort of ‘world’, so to speak, as well as an associated view of reality that accords with the subject’s primordial and embodied sense of being.

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Scanning the temporal surface: aspects of time, memory and repetition in my recent music

This paper considers the role of musical temporality and memory in the recent works of composer Bryn Harrison. In contrast to earlier pieces, the essay outlines the ways in which these pieces adopt a singular approach to musical structure which utilises high levels of repetition. It is argued that, through this approach, the listener is able to build up a composite understanding of the surface of the music over time. Comparisons are made to the scanning of a picture plane, and the work of Bridget Riley, James Hugonin and François Morellet are given as examples. The paper ends with a description of a new collaborative project with digital artist Tim Head which seeks to develop on this same phenomenological approach.

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