totalism

In the early 1980s, many young composers began writing music within the static confines of minimalism, but using greater rhythmic complexity, often with two or more simultaneous tempos (or implied tempos) audible at once.Kyle Gann, American Music in the Twentieth Century, pp. 355–56. The style acquired a name around 1990, when it became evident to composers working in New York City that a number of them, including John Luther Adams, Glenn Branca, Rhys Chatham, Kyle Gann, Michael Gordon, Arthur Jarvinen, Bernadette Speach, Ben Neill, Larry Polansky, Mikel Rouse, and Evan Ziporyn, were employing similar types of global tempo structures in their music.Kyle Gann, Music Downtown, pp. 13–14; [http://www.newmusicbox.org/article.nmbx?id=1538 Kyle Gann, "Minimal Music, Maximal Impact: Minimalism Gets Complex: Totalism] {{Webarchive|url=https://web.archive.org/web/20070225095438/http://www.newmusicbox.org/article.nmbx?id=1538 |date=2007-02-25 }}; Kyle Gann, "Tyrannize Me," Village Voice, Vol. XXXIX No. 13 (March 29, 1994), p. 86). Others include Eve Beglarian, Allison Cameron, Nick Didkovsky, David First, Phil Kline, and Lois V. Vierk.Gann, Kyle (2001). "[http://www.kylegann.com/postminimaldisc.html A Discography of Postminimal, Totalist, and Rare Minimalist Music]", KyleGann.com. Accessed: July 6, 2017.

The term totalist refers to the aims of the music, in trying to have enough surface rhythmic energy, but also to contain enough background complexity. There is also an echo in the term of serialism's "total organization," here drawn not from the 12-tone row, but from Henry Cowell's theories about using the same structuring devices for rhythm that have been traditionally used for pitch. For instance, the traditional ratio between frequencies of a major second interval is 9:8, and 9-against-8 is an important tempo contrast in many totalist pieces, achieved by having some instruments play dotted eighth notes while others play triplet half notes.Kyle Gann, "Totally Ismic," Village Voice, Vol. XXXVIII No. 29 (July 20, 1993), p. 69, reprinted in Kyle Gann, Music Downtown, pp. 127–29. In practice, totalist music can be consonant, dissonant, or both, but generally restricts itself to a small number of sonorities within any given piece.

Examples of works in the totalist idiom include:Gann, Kyle; American Music in the Twentieth Century, 1997, Schirmer {{ISBN|0-02-864655-X}} pp. 352–386

• Mikel Rouse: Quick Thrust, Failing Kansas, Dennis Cleveland (a talk-show opera), The End of Cinematics
• Glenn Branca: The Ascension
• Michael Gordon: Thou Shalt!/Thou Shalt Not!, Acid Rain, Four Kings Fight Five, Van Gogh Video Opera, Trance
• Rhys Chatham: An Angel Moves Too Fast to See
• John Luther Adams: Dream in White on White, Clouds of Forgetting, Clouds of Unknowing, In The White Silence
• Kyle Gann: Long Night, Custer and Sitting Bull, Unquiet Night
• Ben Neill: 678 Streams, ITSOFOMO
• Bernadette Speach: Telepathy Suite
• Larry Polansky: Lonesome Road

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• Gann, Kyle, American Music in the Twentieth Century, 1997, Schirmer {{ISBN|0-02-864655-X}}
• Gann, Kyle, Music Downtown: Writings from the Village Voice, 2006, University of California Press {{ISBN|0-520-22982-7}}

• [http://www.newmusicbox.org/page.nmbx?id=31tp00 Minimal Music, Maximal Impact] by Kyle Gann © 2001 NewMusicBox

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Category:Contemporary classical music

Category:Music of New York City