THE SCULPT ESSENTIAL 'REALITY'. Element of continuity 'and contrasts with abstract expressionism. In this article we confront the minimalism as a catalyst of the movement serial, random, concrete Neue Musik, in the second half of the 900, a milestone in the construction of artistic vision "essential" that will project directly to the movement the excesses of extreme modernism and post-modern art , along with the basic engines of abstraction and expressionism. Overall, the minimalist art work with a view to reducing reality, a purely abstract and objective research, purged from the interference of the creative subject, devoid of the stationery and non-structural. The minimal art research structural elements, 
reduces bone and shows the skeleton of a reality in the visual as in the sound. If the recipe on the latter drives serial and twelve-tone, and concrete random, on the whole, however, raises issues of conflict-at least at first-with the words: the objectification and the search for the essential structure of the work inevitably purge expressive characters, impulses of the creative subject. If the privileged expression of the emotional reality as compared to its perception of the objective, in a deformation alienated and desperate, extreme, transfiguring, sometimes redundant, sometimes reduced to a minimum, minimalism goes instead towards a structuralist linearity, abstract numerical and conceptual. While the expression vomits right in the face was an emotional and existential, through a distance (visual and auditory) strong, sharp, unambiguous, minimal processing is limited to evoke an underlying abstract form, the same as emotional, through matrices and geometric shapes essential sequences in series, a rigorous execution and the absence of non-structural data.
reduces bone and shows the skeleton of a reality in the visual as in the sound. If the recipe on the latter drives serial and twelve-tone, and concrete random, on the whole, however, raises issues of conflict-at least at first-with the words: the objectification and the search for the essential structure of the work inevitably purge expressive characters, impulses of the creative subject. If the privileged expression of the emotional reality as compared to its perception of the objective, in a deformation alienated and desperate, extreme, transfiguring, sometimes redundant, sometimes reduced to a minimum, minimalism goes instead towards a structuralist linearity, abstract numerical and conceptual. While the expression vomits right in the face was an emotional and existential, through a distance (visual and auditory) strong, sharp, unambiguous, minimal processing is limited to evoke an underlying abstract form, the same as emotional, through matrices and geometric shapes essential sequences in series, a rigorous execution and the absence of non-structural data. SUMMARY OF THE MINIMALIST. MINIMAL TEXTURALISM, CRYSTALLIZATION AND MAXIMIZE the moment. From general elements of the Minimal Art is essential to enter the specific scope of sound. Here minimalism poses a "portmanteau" interesting kind of music, synthesizing the data composition further away from each other: the approach is varied, driven to different forms of expression, has a continuity in the diversified elements, proposed a consistency of sound streams and perceptual . The composition of minimal adapts and coincides minimal with the perception of sound texture. The simplicity of texture constitutes an aesthetic research on sound research in detail never attempted before. The fundamental feature of this mode of composition is in fact the spiral path and a constant repetition elements of the sequence, which leads to a ' analysis of the moment, in a process of crystallization and maximization of the elements (minus the elements to be encoded for better storage and processing). The minimalist composition proceeds as the extraction of a film, entering into the detail of the individual frames, shown by a precise and analytical detail. If in many areas of modern research is the contamination and the mutual influence to an enrichment of expression in minimalism go instead towards a search for purity, "through its clear structure and defined," the discovery of the sine wave , the unique and essential oscillatory movement, the sound pure, consisting of a single frequency. The minimal texture is expressed entering circular compositional mechanisms that characterize the minimal, but offering a balance ball, three-dimensional. It 's the case with the music of Philip Glass. "Syntax numerical fractal, hypertext, aspects related to lightning and melodic [...] A path toward finding the minimum, maximum exponent (Harlock.it).
MINIMALISM ROUTES OF SOUND POST-CAGE. SYNOPSIS COMPOSITIONAL "MICRO-CELL" AND THE BREAKDOWN OF MINIMAL SOUND. As we stated at the beginning minimalism sound is an impulse moved from a confluence of attitudes serial, twelve-tone, concrete random, but now-becoming-break symbol with those specific drives from Europe and especially from Darmstadt. If it is true that minimalism is placed as a reaction to certain closures of serialism and the "avant-garde Vienna, "is also true that, as the same La Monte Young said, they drew from their Webern their earliest thoughts on repetition and it is from conceptualism and twelve-tone music that comes the first research minimalist. The minimal fact originated in the United States and precise figures such Philip Glass, Steve Reich , La Monte Young, Terry Riley , a generation of American composers-also known as post- cageani - which in the mid 60s wanted to change the ways in which contemporary music is offered to the public, reaching to a breaking point with the fifty years of music history 
twelve-tone input according to Philip Glass, the avant-garde in the dead end of the niches. Minimalism is not organized then as an ideological movement ("there was a school like that of Darmstadt, or a magazine which reference" P. Glass) and, according to Glass, in 1974, after ten years, the minimalist had already made most of its "guidelines". It 's in the detail of composition and procedures "modular" which is played the outcome of the minimalist sound. The composition path in fact moving in the direction of an extreme simplification of the structural elements and architecture of sound evolves on frames and sequences essential rhythmic, moving through an obsessive repetition of these forms, and depositing in the tonal and harmonic construct the evolutionary element of the composition. In this sense it is in electronic music that minimalism has its highest peaks of expression, just because of the diversity and sophistication of the "unusual sound," "artifact," geometric pattern through the development of numerical matrices. Riley, Reich, La Monte, Glass (the most famous and long-lived of the original minimalists) have directed their course towards the composition detailed breakdown of the records sound minimum and the procedure is that of micro-variations and overlaps progressive through mathematical structures that are rhythmic and melodic architectures (it is no coincidence that the most accurate summary of minimalist composition is expressed in the essay titled "Music as a gradual process," by Steve Reich). E 'in this sense that the writing will be the perception (and specifically with the definition of gender ' minimalism '), but the repetition of the sequence comes in contrast with the complexity and the exponential multiplication of timbral combinations. Every cell, every frames, each module lives of their own stability within its own micro-structure and at the same time feeds the entire complex structural composition: a molecular language and Micromuse . In this minimalism is entering a phase current is exceeded itself born in the 60s and ended in its results with the evolution of Philip Glass sound, but it is a methodological approach and a specific compositional technique. Within the path of expansion of tonality and loss of function of color, the minimalists come to the idea of \u200b\u200bbringing neo-tonality, inspired after viewing the distant western approaches to jazz, to polytonality and overlaps sounds. E 'in this way that minimalism leads Western music verso influenze nuove ed "altre", verso un primitivo minimalismo naturale, spingendosi in pieni anni '90 verso le derive acustiche ed elettroniche dell'ambient, grazie ad interessanti collaborazioni tra i minimalisti ed i nuovi musicisti della nascente ambient-music . E' infatti nei minimalisti americani diatonici, nella dilatazione del tempo e dello spazio sonoro, nella ripetitività che si trovano in seme le future evoluzioni di certa electronic music e del dronology .
twelve-tone input according to Philip Glass, the avant-garde in the dead end of the niches. Minimalism is not organized then as an ideological movement ("there was a school like that of Darmstadt, or a magazine which reference" P. Glass) and, according to Glass, in 1974, after ten years, the minimalist had already made most of its "guidelines". It 's in the detail of composition and procedures "modular" which is played the outcome of the minimalist sound. The composition path in fact moving in the direction of an extreme simplification of the structural elements and architecture of sound evolves on frames and sequences essential rhythmic, moving through an obsessive repetition of these forms, and depositing in the tonal and harmonic construct the evolutionary element of the composition. In this sense it is in electronic music that minimalism has its highest peaks of expression, just because of the diversity and sophistication of the "unusual sound," "artifact," geometric pattern through the development of numerical matrices. Riley, Reich, La Monte, Glass (the most famous and long-lived of the original minimalists) have directed their course towards the composition detailed breakdown of the records sound minimum and the procedure is that of micro-variations and overlaps progressive through mathematical structures that are rhythmic and melodic architectures (it is no coincidence that the most accurate summary of minimalist composition is expressed in the essay titled "Music as a gradual process," by Steve Reich). E 'in this sense that the writing will be the perception (and specifically with the definition of gender ' minimalism '), but the repetition of the sequence comes in contrast with the complexity and the exponential multiplication of timbral combinations. Every cell, every frames, each module lives of their own stability within its own micro-structure and at the same time feeds the entire complex structural composition: a molecular language and Micromuse . In this minimalism is entering a phase current is exceeded itself born in the 60s and ended in its results with the evolution of Philip Glass sound, but it is a methodological approach and a specific compositional technique. Within the path of expansion of tonality and loss of function of color, the minimalists come to the idea of \u200b\u200bbringing neo-tonality, inspired after viewing the distant western approaches to jazz, to polytonality and overlaps sounds. E 'in this way that minimalism leads Western music verso influenze nuove ed "altre", verso un primitivo minimalismo naturale, spingendosi in pieni anni '90 verso le derive acustiche ed elettroniche dell'ambient, grazie ad interessanti collaborazioni tra i minimalisti ed i nuovi musicisti della nascente ambient-music . E' infatti nei minimalisti americani diatonici, nella dilatazione del tempo e dello spazio sonoro, nella ripetitività che si trovano in seme le future evoluzioni di certa electronic music e del dronology . LE EVOLUZIONI NEL POST-MINIMALISMO. Come si è visto i tratti del minimalismo sonoro hanno una derivazione variegata, si dipanano attraverso molteplici esperienze e molteplici personalità. During the early '60s LaMonte Young "sees the music timeless and eternal space, an endless drone in full ebb post-post-Cage and Fluxus" ('S.Reich70'), affect equally to random processes and to Puntillo Webern . With Young's Terry Riley, considered the father of minimalism with the composition-concept "IN C" , who in 1964 explores the idea of \u200b\u200brepetition. Steve Reich introduces phasing ("I found the music more interesting by far is simply to align the loops in unison and let them out slowly out of phase with each other" [Steve Reich]) , progressive overlapping voices that initially experimented on tape and then leads an ensemble of musicians, among them is Philip Glass. The latter becomes the fourth element of an initial "minimal triad", breaking away from strict minimalism soon to broaden its scope of action (90 years 
known collaboration with Aphex Twin for doing different arrangements and orchestra 'ICCT Hedral'). E 'Michael Nyman to write the first definition of' minimalism 'and to know more about the method in this essay "Experimental Music: Cage and Beyond". The first compositions of Young and Reich are involved in a deep perspective and twelve-tone serial, the origins del minimalismo affondano nelle sperimentazioni concrete, nella tape-music, nel puntillismo di Webern, nell'alea di Cage, tentandone un superamento che si esplica in un rovesciamento di traiettoria. Il compattissimo fronte di Darmstadt si risolve in una non-unitaria metodologia di composizione che attinge da Fluxus , dall'elettronica, da Webern, dalla concreta, che sperimenta la microvariazione e le oscillazioni ritmiche, la microcomposizione ed i moduli compositivi circolari. Nonostante i minimalisti condividessero l'essenzialità della composizione, ognuno di questi portò avanti diverse tecniche compositive: processi aleatori (Riley), aggiunta e sottrazione progressiva del materiale (Glass e Reich), phasing (ancora Reich) ne rappresentano il punto di partenza teorico-tecnico. Nel 1968 Reich formula la teoria della "musica come processo graduale" nel saggio "Music as a gradual process" , in cui sintetizza il procedimento di "variazione minima" del minimalismo ed in cui afferma la totale assenza di improvvisazione in tale metodo. "In pratica i primi anni di composizione servono a stabilire che l'atonalita' non e' l'unica alternativa alla tradizione della musica borghese. Reich propone di creare movimento senza ricorrere alle regole dei codici armonici, ma lasciando che esso si generi spontaneamente attraverso la ripetitivita' minimale. E' inevitabile allora la riscoperta del ritmo. Questa intuizione sblocca lo stallo it was in the minimalism and its application architecture allows to build more 'developed, with extensive instrumentation and intricate algorithms (Scaruffi). Through numerous experiments diatonic minimalism evolved in the outcomes of post-minimalism in process and experimental music English music systems.
known collaboration with Aphex Twin for doing different arrangements and orchestra 'ICCT Hedral'). E 'Michael Nyman to write the first definition of' minimalism 'and to know more about the method in this essay "Experimental Music: Cage and Beyond". The first compositions of Young and Reich are involved in a deep perspective and twelve-tone serial, the origins del minimalismo affondano nelle sperimentazioni concrete, nella tape-music, nel puntillismo di Webern, nell'alea di Cage, tentandone un superamento che si esplica in un rovesciamento di traiettoria. Il compattissimo fronte di Darmstadt si risolve in una non-unitaria metodologia di composizione che attinge da Fluxus , dall'elettronica, da Webern, dalla concreta, che sperimenta la microvariazione e le oscillazioni ritmiche, la microcomposizione ed i moduli compositivi circolari. Nonostante i minimalisti condividessero l'essenzialità della composizione, ognuno di questi portò avanti diverse tecniche compositive: processi aleatori (Riley), aggiunta e sottrazione progressiva del materiale (Glass e Reich), phasing (ancora Reich) ne rappresentano il punto di partenza teorico-tecnico. Nel 1968 Reich formula la teoria della "musica come processo graduale" nel saggio "Music as a gradual process" , in cui sintetizza il procedimento di "variazione minima" del minimalismo ed in cui afferma la totale assenza di improvvisazione in tale metodo. "In pratica i primi anni di composizione servono a stabilire che l'atonalita' non e' l'unica alternativa alla tradizione della musica borghese. Reich propone di creare movimento senza ricorrere alle regole dei codici armonici, ma lasciando che esso si generi spontaneamente attraverso la ripetitivita' minimale. E' inevitabile allora la riscoperta del ritmo. Questa intuizione sblocca lo stallo it was in the minimalism and its application architecture allows to build more 'developed, with extensive instrumentation and intricate algorithms (Scaruffi). Through numerous experiments diatonic minimalism evolved in the outcomes of post-minimalism in process and experimental music English music systems. ° see also the post : generative music and electronic minimalism. Flows structural and exploration environment. (ssbd V.02 - IXI Audio and applications)
Plays:
- Process music (wikipedia)
- Systems music
- "Music as a gradual process" by Steve Reich (text)
- "Music Systems" & S. Reich
- Minimalist music (wikipedia)
- Michael Nyman Philip Glass
- Drone music (wikipedia)
- La Monte Young
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