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Where did musical minimalism come from—and what does it mean? In this significant revisionist account of minimalist music, Robert Fink connects repetitive music to the postwar evolution of an American mass consumer society. Abandoning the ingrained formalism of minimalist aesthetics, Repeating Ourselves considers the cultural significance of American repetitive music exemplified by composers such as Terry Riley, Steve Reich, and Philip Glass. Fink juxtaposes repetitive minimal music with 1970s disco; assesses it in relation to the selling structure of mass-media advertising campaigns; traces it back to the innovations in hi-fi technology that turned baroque concertos into ambient "easy listening"; and appraises its meditative kinship to the spiritual path of musical mastery offered by Japan's Suzuki Method of Talent Education.
Features a collection of articles related to the origin of music, presented by Greenwich. Links to a midi file of "Thus Spake Zarathustra" by the German composer Richard Georg Strauss (1864-1949), which reflects the developments of musical scales.
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The thematic motif found within these poems is one of "knowing": the desire to know the mystery of love in its many forms and depths. Examining daily living, this book's four-section poem sequence is one of immersion into the paradoxical life; familiar yet filled with inexplicable beauty. As it investigates displacement from family, from love, and from self, this compilation discovers that the mundane transpires in an austere and holy place peopled with angels unaware, that faith can exist in a place of stone--absolution is available daily--and that redemption is found in strange places.
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