Minimalism

Minimalism1. Steady beat; pulse without meter

2. Reclaim diatonicism without tonality

3. Perpetual present

4. Gradual processes

5. Listener-derived forms

Phasing

Conceptual art

Frank Stella (b. 1936) (upper right)

Sol LeWitt (1928-2007) (lower right)

Terry Riley (b. 1935), In C (1964)

Performance Instructions

The 53 repeating patterns are to be played in consecutive order starting with 1 and ending with 53.

All performers play from the same part except the “pulse.”

When possible all parts are to be played in the octave written. Octave transpositions especially downwards must be done with attention to the overall balance.

If needed or desired, a steady eighth note pulse is played on the top octaves of a piano, marimba, or vibraphone to help keep the ensemble together rhythmically. During the course of the performance the pulse may be traded off between players. The pulse is stated before the rest of the ensemble enters and is maintained throughout the duration of the work.

When beginning each performer decides for himself when to enter. A strong unison feeling should be established for fie or ten minutes before different alignments of the patterns are attempted. The most successful performances are those in which the ensemble stays within a compass of 4 or 5 patterns. Although each performer is free to move from figure to figure at his own rate, it is important to note that steady continuous repetition will stabilize his part so that it can be related to by other performers and he, in turn, can make a meaningful relationship to them. Above all, performers must not wander ahead or lag behind the nucleus of the ensemble so that their part is removed from context and an absolute tempo must be maintained. During the course of the composition the ensemble should attempt to regroup occasionally in a strong unison pattern. Individual patterns, when started on different parts of the measure may play against themselves canonically with an eighth note separation generally being the smallest effective point of imitation.

Instruments with prominent timbres should take care that their parts do not consistently dominate. Always try for a blend of interlocking relationships. Strings and voices can be amplified if necessary for the blend. Although keyboard and stringed instruments can and should play more or less continuously, it will be necessary for winds and voices to pause for breathing and for resting the lips. Playing and resting should always be done with regard to the overall pattern. Enter and exit inconspicuously.

One may omit patterns outside the limitations of one’s technique or instrumental capabilities but take care not to become isolated from the rest of the group.

When coming to the last pattern (Figure 53) sty on that pattern until everyone is on it. Play with the group crescendo and diminuendo until everyone decides it’s time to drop out.

Rehearsals should begin with all performers repeating each figure in unison. Repeat each figure in unison a set number of repetitions before going on to the next. This will ensure that each performer is playing each figure the same way. Then each figure may be rehearsed in combinations with itself in various alignments and then in combination with adjacent figures and so on. The tempo should only be as fast as everyone can play comfortably.

There are no specified durations. Average performances tend to last 45 minutes to 90 minutes. A ritual performance could conceivably last 53 weeks with the last pattern ending on the first week of the new year.

In C (1964)

Terry Riley (b. 1935), In C (1964)

Gamelan ensemble of Bali

Terry Riley

Steve Reich (b. 1936), Come Out, 1966 Premiered at Town Hall, 17 April 1966, for a benefit concert for the retrial of the “Harlem 6.” Based on the

taped account of Daniel Hamm: “I had to, like, open the bruise up, and let some of the bruise blood come out to show them.”

Sol Lewitt (1928-2007)

Below:

Wall Drawing #260: On Black Walls, All Two-Part Combinations of White Arcs from Corners and Sides, and White Straight, Non-Straight, and Broken Lines (1975)

Chalk on painted wall. First installed at San Francisco Museum of Modern Art, June 1975

Installation in progress, MoMA 4th floor

LeWitt, “Paragraphs on Conceptual Art,” Artforum, June 1967

“What the work of art looks like isn’t too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned. Once given physical reality by the artist the work is open to the perception of all, including the artist…. It doesn’t really matter if the viewer understands the concepts of the artist by seeing the art. Once out of his hand the artist has no control over the way a viewer will perceive the work.

“To work with a plan that is pre-set is one way of avoiding subjectivity…. After that the fewer decisions made in the course of completing the work, the better. This eliminates the arbitrary, the capricious, and tsxhe subjective as much as possible.

“Color, surface, texture, and shape only emphasize the physical aspects of the work. Anything that calls attention to and interests the viewer in this physicality is a deterrent to our understanding of the idea and is used as an expressive device. The conceptual artist would want to ameliorate this emphasis on materiality as much as possible or to use it in a paradoxical way.

“Art is only good when the idea is good.”

LeWitt, Serial Project, I (ABCD), 1966Baked enamel on steel units over baked enamel on aluminum, 20” x 13’7” x 13’7”

The Museum of Modern Art, New York

Serial Project, I (ABCD) details

“I have to know A, B, C, and D. I can’t go from A to D without knowing what’s in between.”

--Sol LeWitt, 1970