Postminimalism

Again we become mired in discussing lables, which are occasionally convenient but always messy. Gann correctly discredits postminimalism definition of as "the amount of intervention the composer makes in the process" as problematic. But his own definition involving audible structure is also troublesome, for in the new works of Glass, which are probably "minimal," the process is increasingly obscured. I think the minimalist school has progressed, like others, from strict expression of youth rebellion toward more complexity. Each composer develops his own techniques which are shaped from his philosophy and musical influences. I see no need for a strict definition of "postminimalism" because everyone after Riley, Glass, and Reich explored new realms opened by their predecessors.
  As a pianist, I knew Duckworth's Tango Dances as an amazing and lively fusion of bluegrass heritage with modernist constructions.Otherwise, this was my first exposure to his music. His works are at once deeply meditative and harmonically stable but more rhythmic than Part. Its lively syncopations and bluesy harmonies are also appealing features to me.
Om Shanti presents many interesting textures within a genuine and powerful work. Giteck's writing is quiet and reflective, making her work more like Arvo Pärt than any other we have studied.
  In The Crack in the Bell one can hear many of Glass's burbling arpeggios and insistently repeating chords with Lentz's very original ideas piled on top. I wish there were a recording with real instruments and quality synthesizers instead of the used car commercial brass section.

  After Duckworth, the rest of the music covered in this chapter is very obscure. Where is Adams!? Adams is THE post-minimalist. Growing directly out of the minimalist tradition, John Adams has developed a Romantic style that continues to evolve.

Gann discusses Adams up to Grand Pianola Music; thereafter Adams went his own way, and it is here that I think things really get interesting . Adams' The Dharma at Big Sur is a fascinating modern study in just tuning and tribute to California (and West coast composers Lou Harrison and Terry Riley). At his program note on the work, Adams discusses his decision to explore just tuning, Jimi Hendrix, and Johnny Hodges, and the blue note.




Adams creatively explores all kinds of minimal techniques (repetition, electronic manipulation) which Tracy Silverman clearly:

  Apart from Adams, I wish Gann would devote time to composers who are very influential, popular, AND were interesting who, though less directly relating to minimalism were discussed only very cursorily: Corigliano, Tower, Rouse (short paragraph), Harbison, Higdon (not mentioned), Daugherty (not mentioned), Zwillich (got a paragraph), etc. He seems to be deliberately avoiding the mainstream/popular.