An advanced seminar in analyzing the diverse streams of musical minimalism. We’ll look at minimalism’s conceptual roots in the 1960s, and trace influences from the visual arts and dance, as well as early works of Reich, Glass, Fluxus, Eastman, and the Scratch Orchestra. The seminar will combine on‐the‐score and aural analysis and contrast open score, aurally taught, and strictly notated works. The class will unpack some of the core techniques of minimalism and post‐minimalism: additive rhythms, polyrhythms, canons, and the extended tonalities of works by Reich. In the end, we’ll consider electronica and related genres, as a mutual influence and analogue. We’ll also perform durational works in class, and recreate classic installations. Some previous work with notation and/or theory required.
Learning Outcomes:
1. To understand an aesthetic and its practitioners in multiple, overlapping historical contexts.
2. To be able to analyze works both aurally and in notated scores.
3. To be able to perform, produce, and install durational works with attention to detail
Delivery Method: Fully in-person
Prerequisites: Permission of Instructor, and previous work in notation/theory. Contact nbrooke@bennington.edu for registration.
Course Level: 4000-level
Credits: 2
Tu 4:10PM - 6:00PM (Full-term)
Maximum Enrollment: 12
Course Frequency: Every 2-3 years
Categories: 4000 , All courses , Fully In-Person , Theory , Two Credit , Updates
Tags: electronics , installation , minimalism , music , Music history , music theory