Musical Minimalism: Is It a Misnomer?

Abstract

Whether the term ‘minimal’ is appropriate for the music to which it refers to has been a subject of debate among scholars and composers. Many alternative terms were suggested as substitutions or complements. Consequently, the extent to which minimalist music is minimal has been discussed. Most of the previous studies on the distinctive qualities of minimal music and whether the term is misleading provided either a discussion of the alternative terminology or a comparison of minimal art and music; on the other hand, this essay aims to investigate the ways in which minimal music is ‘minimal’ with a broader view from the perspectives of different disciplines, which is necessary. First, previous studies on understanding why such music and art are considered ‘minimal’ are reviewed and compared. To establish a broader perspective for accuracy, the focus is not limited to the period between the 1960s and 1980s, when minimalist music appeared, developed, and flourished. Sociocultural dynamics surrounding this art and music are also considered since they reflect in the surface qualities of the works; hence a two-way relationship. However, the related sociocultural aspects are only briefly mentioned since they are not in the main scope of this study. Second, the first known publication in which the term is used in a distinctive musical context is presented and discussed in addition to the other starting points suggested by scholars; moreover, the spectrum is broadened with the first publication in which the term was used in the arts due to the reason that there is a direct relationship between the two. Third, a comparison and discussion of minimal art and minimal music is provided regarding the main question of whether minimal music is a misnomer by choosing two representative works from each discipline. Fourth, alternative terminology is discussed in an attempt to provide an answer to the fundamental question, the objective of the paper. At the end of the historical, theoretical and aesthetic enquiry, it is proposed that the term ‘minimal’ is not completely inaccurate to denote this music; however, regarding minimalist music as the ‘emancipation of repetition’ provides more insight into evaluating its importance in Western art music.

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