Minimalism:Origins [Paperback] Review

In Strickland's previous book, American Composers, he demonstrated a broad knowledge of various musics (he had written extensively, for example, on Glenn Gould and John Coltrane)in lively conversations with leading composers. His book on Minimalism is primarily first-rate cultural history, with more technical and formal analysis, curiously, in the sections of art than in the central section on music.His style is fluid and often witty, occasionally turgid only in some of the more technical passages, perhaps inevitably.

One thing missing in the book is reproductions of the art and music (there is one at the head of each section), possibly because Strickland seems to be trying to create a Minimalist work of art himself here--from the bare buff cover (in the hardback; the revised paperback edition includes the ISBN code, laudatory reviews and a synopsis on the back cover) to the naming of chapters by letters and sections by a single word ("Paint, Sound," "Space" and "End"). There is nothing minimal about the documentation, however, for the book relies on an abundance of primary sources.

The section on painting is probably the most controversial.Strickland has lengthy chapters on Barnett Newman, Ellsworth Kelly, Ad Reinhardt et al. in redefining Minimalism as a movement developing WITHIN Abstract Expressionism.Many of the 60s painters normally identified as FOUNDING the movement he treats as academizing the movement. His viewpoint is equally debatable and thought-provoking, defended on empirical rather than conceptual grounds.

The section on Minimalist music is the liveliest as Strickland traces in remarkable detail its development from LaMonte Young through Terry Riley to Steve Reich to Philip Glass.His attribution of a chain of influence seems just, though the last composer has discounted it in favor of acknowledging Indian music as the central influence on his early work.Strickland discusses the influence of that music and Indonesian music, earlier classical music (from Leoninus and Bach to Debussy to Webern) and jazz (Coltrane is referred to again and again by the composers and the author).

The best sections may be the first and last, and those are the ones to read for those uninterested in studying the subject in depth.Strickland's interdisciplinary delineation of Minimalist characteristics in "A" is masterly; his discussion of the philosophical implications of the movement in "W" is thoughtful and occasionally poetic.

Click Here to see more reviews about: Minimalism:Origins [Paperback]

Product Description:

"... a landmark work, the first attempt to write a pre-history of minimalism that embraces all the arts. Its importance cannot be overestimated." -- K. Robert Schwarz, Institute for Studies in American Music"All told, this book is mandatory reading for anyone who wishes to understand the history and nature of minimalism." -- i/e NINE"The death of Minimalism is announced regularly, which may be the surest testimonial to its staying power," says Strickland in this study, the first to examine in detail Minimalist tendencies in the plastic arts and music. Investigating the origins of Minimalism in postwar American culture, Strickland redefines it as a movement that developed radically reductive stylistic innovations in numerous media. A survey with wit.



Buy cheap Minimalism:Origins [Paperback] now Get 10% OFF