Minimal music jako problém figury a pozadí
| Title in English | Minimal Music as a Problem of Figure and Background |
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| Authors | |
| Year of publication | 2017 |
| Type | Article in Proceedings |
| Conference | Serialita a repetícia : Zborník z Mezinárodného interdisciplinárneho sympózia |
| MU Faculty or unit | |
| Citation | |
| Web | https://vsvusympozium.files.wordpress.com/2017/06/martin-flasar1.docx |
| Keywords | time; loop; repetition; minimalism; serialism; point; surface; color; figure; background; Gestalt psychology; O. Messiaen; I. Xenakis; J.-F. Lyotard; M. Nyman |
| Description | When the first music and sound loops trends appeared in the 1960s USA, there was much more at stake than simple substitution of an evolutionary type of music by a non-evolutionary, relatively static structure. The influence of Eastern Zen Buddhism on the American experimental music scene marked a shift from listening to the intentional music typical of Western culture, to freeing stream of consciousness typical of meditation techniques. Thus the key to understanding minimal music lies in psychological processes that endeavour to eliminate perception of the flow of time and dismantling of intentional listening. From this perspective we can understand minimal music more as functional music that inverts the standard schema relating figure to background in the Western European musical tradition. In contrast to this original designation, minimal music is today undergoing a process of objectization, with its motoric pattern shortened to the extent of traditional musical themes, thus merging into the tradition of melodic/harmonic composition. |
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