I have a degree in music. Not that I’ve done much with it, mind you. I was going to be a music teacher, but eventually realized there was more to that career path than to love performing and listening to music. I can easily understand what led me into that path, but I’ve not yet figured out why it’s been so easy to walk away. All I know is that I would be a much better musician today than I was in college.
But that’s neither here nor there. As part of my degree program we studied a lot of different kinds of music. One style I found briefly interesting is Minimalism, described briefly in wikipedia thusly:
Prominent features of the technique include consonant harmony, steady pulse (if not immobile drones), stasis or gradual transformation, and often reiteration of musical phrases or smaller units such as figures, motifs, and cells. It may include features such as additive process and phase shifting which leads to what has been termed phase music.
Minimalism was just one of the varied musical approaches explored by the Avant Garde movement. My music theory teacher covered minimalism, and we even tried our hands at it. I wasn’t terribly impressed. It didn’t create music that moved me, which is largely what I listen to music for. With one exception. Steve Reich’s “Electric Counterpoint” includes a third movement that provides elements of pop music appeal enough to be listenable. Whether that was his intention or not, I don’t know.
But while it’s by no means my most favorite piece of music, I do find myself drifting back to it on occasion. The static, repetitive nature of the piece ultimately provides the mechanism by which it evokes an emotional response. For me the first such moment comes when the bass finally drops, to use the modern vernacular. The second is when, after what seems interminable sameness (there may be subtle changes beneath it all, but I can’t make it out), Reich changes the key and mixes up the patterns simultaneously for the minimalist version of a body punch.
As I said, it’s a fun piece to me. I don’t expect many to like it. And, sadly, it’s probably one of the few listenable examples of the style.
But unlike many Avant Garde experiments, Minimalism did hang on enough to make its way into popular culture. It’s subtle, and it’s not always recognizable, but it’s there. One such oasis of minimalistic ideals is movie music. It’s a good match, really, as music in movies is meant to provide a mood without drawing attention to itself. Minimalism does that.
It’s also found a home in modern “Electronica”, which often in itself tries to set a mood and create a hypnotic ambience. There’s even a fairly well-known modern piece based on motifs (and perhaps actual samples) from Electronic Counterpoint. And of course, there are old chestnuts like “Tubular Bells”.
Granted, most composers and DJs probably don’t consciously try to incorporate Minimalism into their work. They may not even be aware of it. The invention of looping equipment is perhaps an example of music taking unconscious steps in that direction. But the cross-pollenization of musical styles is not always conscious. The results are the same regardless of the path.
Anyway, here are a few examples of Minimalism and its derivatives, in case your interested. I start, of course, with my personal favorite:
We then move on to the modern, conscious derivation by Röyksopp:
I believe Jean Michel Jarre consciously used elements of Minimalism in his music, such as his Oxygene album. This track, Part 2, was used in the movie “Gallipoli”. His later album, “Waiting for Cousteau” employs it heavily in at least one track.
https://youtu.be/6Q00HQwO2Sg
And let’s not forget the theme from The Exorcist:
https://youtu.be/04EShclPAa0
Incidentally, there’s a lot more to Mike Oldfield’s composition Tubular Bells than just this piece. Search on YouTube some time.
Anyway, there’s my quick, pedantic tour of Minimalism, foisted upon you all just because today happened to be the day I got my Electric Counterpoint urge. I promise something else tomorrow!