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    The Names of Minimalism

    External Review of Whole Manuscript

    Authorship, Art Music, and Historiography in Dispute

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    Author(s)
    Nickleson, Patrick
    Language
    English
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    Abstract
    Minimalism stands as the key representative of 1960s radicalism in art music histories—but always as a failed project. In The Names of Minimalism, Patrick Nickleson holds in tension collaborative composers in the period of their collaboration, as well as the musicological policing of authorship in the wake of their eventual disputes. Through examinations of the droning of the Theatre of Eternal Music, Reich’s Pendulum Music, Glass’s work for multiple organs, the austere performances of punk and no wave bands, and Rhys Chatham and Glenn Branca’s works for massed electric guitars, Nickleson argues for authorship as always impure, buzzing, and indistinct. Expanding the place of Jacques Rancière’s philosophy within musicology, Nickleson draws attention to disciplinary practices of guarding compositional authority against artists who set out to undermine it. The book reimagines the canonic artists and works of minimalism as “(early) minimalism,” to show that art music histories refuse to take seriously challenges to conventional authorship as a means of defending the very category “art music.” Ultimately, Nickleson asks where we end up if we imagine the early minimalist project—artists forming bands to perform their own music, rejecting the score in favor of recording, making extensive use of magnetic type as compositional and archival medium, hosting performances in lofts and art galleries rather than concert halls—not as a utopian moment within a 1960s counterculture doomed to fail, but as the beginning of a process with a long and influential afterlife.
    URI
    https://library.oapen.org/handle/20.500.12657/60286
    Keywords
    Minimalism, early minimalism, Tony Conrad, Marian Zazeela, La Monte Young, Steve Reich, Philip Glass, Terry Riley, Glenn Branca, Rhys Chatham, authorship, music history, historiography, radicalism, leftist historiography, Jacques Rancière, drone, May '68, metonymy, Theatre of Eternal Music, punk, no wave, new wave, New York
    DOI
    10.3998/mpub.10207791
    ISBN
    9780472133284, 9780472039098, 9780472903009
    Publisher
    University of Michigan Press
    Publisher website
    https://www.press.umich.edu/
    Publication date and place
    2023
    Classification
    Music
    Pages
    266
    Rights
    https://creativecommons.org/licenses/by-nc-nd/4.0/
    • Imported or submitted locally

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    License

    • If not noted otherwise all contents are available under Attribution 4.0 International (CC BY 4.0)

    Credits

    • logo EU
    • This project received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No 683680, 810640, 871069 and 964352.

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