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YOU are AMAZING

4'32" ... "minimalism was a reaction" ... when looking at the forest instead of the trees is that not true with all art? Visual Arts: Renaissance -> Mannerism -> Baroque; Music: 18th Century Enlightenment -> Romanticism; Politics etc. We live within Newton's Third Law without realizing it. 🤔

The fourth hand in this, besides pianist, 'cellist and recording engineer, is the magnificent space. Now but a mass of burned rubble and twisted metal, That goes for the nice Petrof 195 grand piano, too.

Another composer who composed (and composes) interesting minimalist music is Joe Hisaishi One of my favorites... Vertical Lateral Thinking

I did work at that place for almost 16 years. One thingi did religiously was to polish the brass letters on that fall board. i see that it hasn't been done since they pushed me out the back door.

اینم جالب شده شبیه یه بخشایی از همون موزیکد برای 18 موزیسین شده بود و X2

باحاله

My favourite rendition of this piece on youtube! Beautifuly played!

Outstanding! 🔥

Personally I would invest a lot more effort in appreciating minimalism rather than pure serialism. I sense more compositional investment.

Dont feel unintelligent if you try it and just don't like it. Frank Zappa backfired making forced exposure to these sounds and composers like your Dad tutoring you on algebra. People like Zappa let their composer enthusiasm for the new sounds become an evangelical mission. And if we were not interested? Tough! If you dont find any value in listening to completely unexpressive pure serialism, the world will continue turning and their university jobs will continue paying. You don't have to love Bach or Mozart, either. THEY chose to divorce themselves from expression and personal imprinting during composition. Take it or leave it, no indication of your merits. I listen for the unique sounds and interesting timbres. Some pieces speak to me. Some are just pieces I will give one listen. IF THE COMPOSER IS NOT BEING EXPRESSIVE OR THEMATIC OR USING A MATRIX, THEN NO HARD FEELINGS IF WE JUST WALK AWAY. One cannot compose or improvise with complete indifference and no personal expression....and then blame me....for not caring.

Is expression possible in total serialism? If charts, rows, and matrices are determining notes and pitch and dynamic, why not just computers? What is need for human?

Fantastic video. Was looking for a good explanation for minimalism’s history.

As someone who took music history in 1987, I am grateful for this introduction to big names from “after my time”

Oh my god!!!!!! Quelle beauté extraordinaire !!!

That’s hilarious

Fabulous !

With too many responsibilities that night, I was running here and there to fix things, prepare things, etc. When Janusz and Sam finally sat town to play this piece, it stopped me in my tracks. This is music that i first experienced on the big screen in 1958, with Casals himself playing. I hadsn't really listened to it since that day whan i was five years old. Awesome, Janusz and Sam.

Great content, great didatics. Thank you!

I have been accused of being a Maximalist composer. Is there such a thing. I think that Reductionism - as I term it - is a form of Post-Minimalism. What do you think? Is it Post-Minimalism or Maximalism?

Very insightful, - would you always start with working out the structure, or is it a back and forth process?

Thanks for sharing, it was very helpful.

great series, Saman! just subscribed!

lol same its like wow i play this song every day come watch me play and its sounds like i just start playing a random song

I love how they use big words and compare it to complex mathematics and spacetime and how it has all this deeper meaning, when in fact, it's just a guy hitting random keys on his electric keyboard and recording it on the free app on his iPhone.

This is dope

I was teaching a lesson on melodic construction the other day. I definitely talked about motivic development and repetition as well as structural elements present in melody. One thing you didn't mention that I talked about was intervallic relationships of line over chord root / changes. I was a songwriter before studying composition so I think Shenker would find pop songs if he was to analyse my music. I tend to write melodies and changes at the same time if left to my own devices, and I have discovered that there is a very specific treatment of chord tones as well as dissonance that can really 'sweeten' how a melody sounds. One thing that I say not to do is to write downbeats of the melody moving in parallel octaves with the root. It just sounds insipid. Just don't write to chord roots before a cadence, unless you absolutely HAVE to. The other thing is resolving accented dissonances by step or you can delay the resolution by, say, moving down or up a third and then resolving to the expected note. Or, you can go all 'Bach mode' and have a more chordal figure or embellishment that then resolves. Beyond that, the concepts of accented dissonance and dissonance in general that we study in counterpoint translate unbelievably well to melody writing. Appoggiatura, suspension, retardation, etc. Generally, the chordal 3rd, 5th, 7th, and 9th are good consonant pitches to write toward and will sound great depending on the harmonic language being employed. There was two great takeaways from plainsong writing that I thought were interesting: 1) The apogee and the perigee. The idea was that there would be a singular highest note and a singular lowest note in an entire iteration of a melody. I definitely have personally found this concept useful when constructing melodies. A melody will lack a sense of direction if there is not a clear high point and low point. th-cam.com/video/kkxFQ197_Hw/w-d-xo.html (Note the singular high C and low D# in this chorus) 2) The idea of controlling the interval content. Mostly stepwise motion, some thirds, and sparing use of larger intervals for dramatic effect. A lot of lyric 'singable' melodies have similar interval content and additionally, the overall range is often limited to a 10th. If we start dealing with more complexity and a larger range, we start to move into the territory of instrumental melodies which can be far more florid and exist in a much larger range.

So relatable

TRUE😂😂😂😂😂😂

A fan of spectralism, it's a fun part of the experimental era. It was mostly a French and Italian idea in the beginning. Glad it's spread. And the colours they create with the series is inspiring. It breaks away from some more traditional orchestration.

Love minimalism, and enjoyed Reich's Drumming. With its phasing. Addams music is awesome, and can always hear the minimal influences. My faves Are chamber symphony 1 and a short ride.

I tried listening to some of Ferneyhough in college, and it might have been the first music I ever heard in a classical-music context of that got a reaction of visceral dislike from me. I suppose one could call that an emotional reaction

I appreciated your take on this. I won't try to argue that new complexity isn't music or anything like that, but I might be willing to argue that it's really bad music. I guess it really depends on what criteria one is judging it by

Helpful and informative video. btw I am currently learning ChaarMezrab , my family and I love it ❤❤

Bryn Harrison in the U.K has combined minimalism with new complexity in a very interesting way as well.

I like the way you explain, amazingly simple and practical 😏. 👍

This is insightful

Nice video!!!

I'm in!

یاد استاد بزرگوار ما بخیر ، ممنون سامان جان . مشعوف شدیم

VIA Rail between Montreal and Toronto is a minimalist dream symphony. Or nightmare. It depends on the interrupted/static rhythms. (PS. Saman. I’m enjoying this minimalist series.)

Julia Wolfe, David Lang, Julius Eastman, Janice Giteck, John Adams, Anna Southam, Louis Andriessen, Max Richter, Arvo Part, Pauline Oliveros, William Basinski, Henry Gorecki, Gvorgy Ligeti.

love the idea of synthetic listening as a concept

very nice Saman jan 🌹🌺

I enjoyed your thoughts on this. Occasionally I get an urge to listen to Ferneyhough or something in that vein, but typically I find that I don’t have the endurance to listen more than a minute or two. It’s like sustained trauma. Trauma punctuated with moments of relief I can handle and enjoy (I’m thinking of some of Penderecki’s work), but the New Complexity works seem to relish in excruciation as an end in itself.

I first heard 'Rainbow in Curved Air' by Terry Riley when it came out in 1969. After that , many years late,r i loved Phillip Glass's works, and those of Steve Reich, I have only recently begun to listen to John Adams, so i still have plenty to work on !

I reckon the Gamalan influenced Reich and Riley. It seems Debussy also heard this music, but i don't hear its influence.

I reckon the format of 'IN C' is wonderful! with discrete phrases that can be recombined in various configurations. This is unique.

I have never heard of this movement, but these pieces do have an interesting emotional soundscape. After Stravinski I skip straight to the American minimalists: Glass, Riley, Adams, Reich.

The rule to use all 12 tones is completely arbitrary. Other rules could equally be adopted: why not compose with different keys in each bar, or change rhythm every ten notes, it would be equally meaningless.