Where did musical minimalism come fromOCoand what does it mean? In
this significant revisionist account of minimalist music, Robert
Fink connects repetitive music to the postwar evolution of an
American mass consumer society. Abandoning the ingrained formalism
of minimalist aesthetics, "Repeating Ourselves "considers the
cultural significance of American repetitive music exemplified by
composers such as Terry Riley, Steve Reich, and Philip Glass. Fink
juxtaposes repetitive minimal music with 1970s disco; assesses it
in relation to the selling structure of mass-media advertising
campaigns; traces it back to the innovations in hi-fi technology
that turned baroque concertos into ambient easy listening; and
appraises its meditative kinship to the spiritual path of musical
mastery offered by Japan's Suzuki Method of Talent Education."
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