Hiroki Shinoda - Academia.edu (original) (raw)
篠田大基
Address: Mito City, Ibaraki Prefecture, Japan
less
Uploads
Papers by Hiroki Shinoda
![Research paper thumbnail of Steve Reich's "Musical Process": A Linkage with Postminimal Art [abstract for an oral presentation in Japanese]](https://attachments.academia-assets.com/91999605/thumbnails/1.jpg)
](Bigaku, 2006
「スティーヴ・ライヒの「プロセスとしての音楽」とポストミニマリズムの美術」（第五十七回美学会全国大会発表要旨）
Bookmarks Related papers MentionsView impact
![Research paper thumbnail of Development of Minimal Music and Conceptualism: Steve Reich and Sol LeWitt, Comparing with the Preceding Artists [text in Japanese]](https://attachments.academia-assets.com/64378976/thumbnails/1.jpg)
](Tetsugaku, 2014
As Steve Reich (1936– ) admits, his essay “Music as a Gradual Process” (1968), in which he descri... more As Steve Reich (1936– ) admits, his essay “Music as a Gradual Process” (1968), in which he describes the basic idea of minimal music, has some analogies with the claims of sculptor/painter Sol LeWitt (1928–2007) in “Paragraphs on Conceptual Art” (1967) and “Sentences on Conceptual Art” (1969). Associating these connections with early 1960s’ pre-minimalist works by La Monte Young (1935– ) which became the model of “concept art” coined by Henry Flynt (1940– ), musical minimalism and conceptualism developed alongside one another in the 1960s. This paper aims to delineate the development of minimal music (from Young to Reich) in connection with the transfiguration of concept [/ual] art (from Flynt to LeWitt).
Young, Reich, and LeWitt shared an aesthetic of concentration on the singular activity of generating work. Attracted to the basis in Young’s works consisting of word instructions, Flynt regarded the instruction as a “concept”; Young, however, focused on the results of the activities following the instructions. As a reaction to Flynt, LeWitt emphasized physical form derived from concepts, making the work-generating process more rigorous; at the same time, Reich established his idea of “musical process” by interpreting Young’s results of activities as results of processes.
Bookmarks Related papers MentionsView impact
Aesthetics, 2012
Steve Reich (1936- ), in his essay “Music as a Gradual Process” (1968), wrote that “a composition... more Steve Reich (1936- ), in his essay “Music as a Gradual Process” (1968), wrote that “a compositional process and a sounding music [...] are one and the same thing.” His aesthetic creed of “perceptible processes,” indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of Anti-Illusion: Procedures/Materials (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich’s music and postminimal art in view of his involvement in the Anti-Illusion show.
The theme of the Anti-Illusion show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones’ swinging. This piece clearly demonstrates that Reich’s claim in “Music as a Gradual Process” was propounded in connection with postminimal art as an attempt to disclose musical processes and thereby reveal the real.
Bookmarks Related papers MentionsView impact
Bigaku, 2006
「スティーヴ・ライヒの「プロセスとしての音楽」とポストミニマリズムの美術」（第五十七回美学会全国大会発表要旨）
Bookmarks Related papers MentionsView impact
Tetsugaku, 2014
As Steve Reich (1936– ) admits, his essay “Music as a Gradual Process” (1968), in which he descri... more As Steve Reich (1936– ) admits, his essay “Music as a Gradual Process” (1968), in which he describes the basic idea of minimal music, has some analogies with the claims of sculptor/painter Sol LeWitt (1928–2007) in “Paragraphs on Conceptual Art” (1967) and “Sentences on Conceptual Art” (1969). Associating these connections with early 1960s’ pre-minimalist works by La Monte Young (1935– ) which became the model of “concept art” coined by Henry Flynt (1940– ), musical minimalism and conceptualism developed alongside one another in the 1960s. This paper aims to delineate the development of minimal music (from Young to Reich) in connection with the transfiguration of concept [/ual] art (from Flynt to LeWitt).
Young, Reich, and LeWitt shared an aesthetic of concentration on the singular activity of generating work. Attracted to the basis in Young’s works consisting of word instructions, Flynt regarded the instruction as a “concept”; Young, however, focused on the results of the activities following the instructions. As a reaction to Flynt, LeWitt emphasized physical form derived from concepts, making the work-generating process more rigorous; at the same time, Reich established his idea of “musical process” by interpreting Young’s results of activities as results of processes.
Bookmarks Related papers MentionsView impact
Aesthetics, 2012
Steve Reich (1936- ), in his essay “Music as a Gradual Process” (1968), wrote that “a composition... more Steve Reich (1936- ), in his essay “Music as a Gradual Process” (1968), wrote that “a compositional process and a sounding music [...] are one and the same thing.” His aesthetic creed of “perceptible processes,” indicated in these words, is known as the basic idea of minimal music. Although minimal music has been considered a counterpart of minimal art, this essay first appeared in the exhibition catalogue of Anti-Illusion: Procedures/Materials (Whitney Museum of American Art, 1969), an exhibition recognized as a threshold of postminimalism in the plastic arts. In this paper, I would like to clarify a linkage between Reich’s music and postminimal art in view of his involvement in the Anti-Illusion show.
The theme of the Anti-Illusion show was to refocus on the process of making art. By emphasizing the processes and materials of the works, the participating artists tried to deny illusion and expose the reality of art. Among these works, Reich performed his Pendulum Music, in which he made the sounding process visible as microphones’ swinging. This piece clearly demonstrates that Reich’s claim in “Music as a Gradual Process” was propounded in connection with postminimal art as an attempt to disclose musical processes and thereby reveal the real.
Bookmarks Related papers MentionsView impact