It includes pieces that sustain one basic electronic rumble for a long time. It includes, by definition, any music that works with limited or minimal materials: pieces that use only a few notes, pieces that use only a few words of text, or pieces written for very limited instruments, such as antique cymbals, bicycle wheels, or whiskey glasses. The idea of minimalism is much larger than many people realize. Tom Johnson, one of the few composers to self-identify as minimalist, also claims to have been first to use the word as new music critic for The Village Voice. Nyman later expanded his definition of minimal music in his 1974 book Experimental Music: Cage and Beyond. The word "minimal" was perhaps first used in relation to music in 1968 by Michael Nyman, who "deduced a recipe for the successful 'minimal-music' happening from the entertainment presented by Charlotte Moorman and Nam June Paik at the ICA", which included a performance of Springen by Henning Christiansen and a number of unidentified performance-art pieces. Philip Glass believes Tom Johnson coined the phrase. Steve Reich has suggested that it is attributable to Michael Nyman, an assertion that two scholars, Jonathan Bernard, and Dan Warburton, have also made in writing. It is unclear where the term minimal music originates. In Europe, the music of Louis Andriessen, Karel Goeyvaerts, Michael Nyman, Howard Skempton, Éliane Radigue, Gavin Bryars, Steve Martland, Henryk Górecki, Arvo Pärt and John Tavener exhibits minimalist traits. The movement originally involved dozens of composers, although only five (Young, Riley, Reich, Glass, and later John Adams) emerged to become publicly associated with American minimal music other lesser known pioneers included Dennis Johnson, Terry Jennings, Richard Maxfield, Pauline Oliveros, Phill Niblock, and James Tenney. In the Western art music tradition, the American composers Moondog, La Monte Young, Terry Riley, Steve Reich, and Philip Glass are credited with being among the first to develop compositional techniques that exploit a minimal approach. The approach originated in the New York Downtown scene of the 1960s and was initially viewed as a form of experimental music called the New York Hypnotic School. The approach is marked by a non-narrative, non- teleological, and non- representational approach, and calls attention to the activity of listening by focusing on the internal processes of the music. It may include features such as phase shifting, resulting in what is termed phase music, or process techniques that follow strict rules, usually described as process music. Prominent features of minimalist music include repetitive patterns or pulses, steady drones, consonant harmony, and reiteration of musical phrases or smaller units. Minimal music (also called minimalism) is a form of art music or other compositional practice that employs limited or minimal musical materials. ( Learn how and when to remove this template message) ( January 2020) ( Learn how and when to remove this template message) Statements consisting only of original research should be removed. Please improve it by verifying the claims made and adding inline citations. This article possibly contains original research.
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