The Element of Repetition and Techniques in Minimalist Music

Duygu Deniz Demirel

Makale detayları

The Element of Repetition and Techniques in Minimalist Music

Yazarlar:

Duygu Deniz Demirel

Yayıncı:

Ege University

Ana Başlıklar:

Performans Sanatları (Diğer)

Dergi:

Eurasian Journal of Music and Dance Issue 26, pp.350-371

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001353837

pISSN:

2651-4818

Anahtar kelimeler:

Özet:

 This study aims to examine the role of repetition in minimalist music and its aesthetic and technical impact on musical narrative. Minimalist music emerged in the second half of the twentieth century as a musical movement centered on simplicity and transformation. It developed as a reaction to atonal music and the twelve-tone system, drawing inspiration from Zen philosophy and embracing simplicity and continuity. Repetition is a fundamental component of minimalist music, offering a creative and transformative force by providing cyclicality and continuity. The research analyzes the repetition techniques employed in minimalist music. Techniques such as phase shifting, drone, addition and subtraction of notes, and layering have been examined. The studies on the works of minimalist music composers such as Philip Glass, Steve Reich, and La Monte Young, accessed through the Scribd platform scribd.com, have been evaluated. It reveals that repetition in music is not merely a technical element but also adds aesthetic depth and transformation to the musical narrative. In conclusion, repetition emerges as both a structural foundation and a mode of expression in minimalist music. The research highlights how this musical approach moves away from traditional teleological structures and emphasizes the potential for creating variation in each repetition. While minimalist music responds to the quest for simplicity and depth in the contemporary music world, it holds the potential to evolve in different cultural and technological contexts, bringing innovations to the world of music in the future. In this context, the study clearly demonstrates the central role of repetition in the aesthetic and technical identity of minimalist music.

 This study aims to examine the role of repetition in minimalist music and its aesthetic and technical impact on musical narrative. Minimalist music emerged in the second half of the twentieth century as a musical movement centered on simplicity and transformation. It developed as a reaction to atonal music and the twelve-tone system, drawing inspiration from Zen philosophy and embracing simplicity and continuity. Repetition is a fundamental component of minimalist music, offering a creative and transformative force by providing cyclicality and continuity. The research analyzes the repetition techniques employed in minimalist music. Techniques such as phase shifting, drone, addition and subtraction of notes, and layering have been examined. The studies on the works of minimalist music composers such as Philip Glass, Steve Reich, and La Monte Young, accessed through the Scribd platform scribd.com, have been evaluated. It reveals that repetition in music is not merely a technical element but also adds aesthetic depth and transformation to the musical narrative. In conclusion, repetition emerges as both a structural foundation and a mode of expression in minimalist music. The research highlights how this musical approach moves away from traditional teleological structures and emphasizes the potential for creating variation in each repetition. While minimalist music responds to the quest for simplicity and depth in the contemporary music world, it holds the potential to evolve in different cultural and technological contexts, bringing innovations to the world of music in the future. In this context, the study clearly demonstrates the central role of repetition in the aesthetic and technical identity of minimalist music.

 This study aims to examine the role of repetition in minimalist music and its aesthetic and technical impact on musical narrative. Minimalist music emerged in the second half of the twentieth century as a musical movement centered on simplicity and transformation. It developed as a reaction to atonal music and the twelve-tone system, drawing inspiration from Zen philosophy and embracing simplicity and continuity. Repetition is a fundamental component of minimalist music, offering a creative and transformative force by providing cyclicality and continuity. The research analyzes the repetition techniques employed in minimalist music. Techniques such as phase shifting, drone, addition and subtraction of notes, and layering have been examined. The studies on the works of minimalist music composers such as Philip Glass, Steve Reich, and La Monte Young, accessed through the Scribd platform scribd.com, have been evaluated. It reveals that repetition in music is not merely a technical element but also adds aesthetic depth and transformation to the musical narrative. In conclusion, repetition emerges as both a structural foundation and a mode of expression in minimalist music. The research highlights how this musical approach moves away from traditional teleological structures and emphasizes the potential for creating variation in each repetition. While minimalist music responds to the quest for simplicity and depth in the contemporary music world, it holds the potential to evolve in different cultural and technological contexts, bringing innovations to the world of music in the future. In this context, the study clearly demonstrates the central role of repetition in the aesthetic and technical identity of minimalist music.

 Bu çalışma, minimalist müzikte tekrar unsurunun rolünü ve bu unsurun müzikal anlatıya estetik ve teknik etkilerini incelemeyi amaçlamaktadır. Minimalist müzik, yirminci yüzyılın ikinci yarısında, sadeliği ve dönüşümü merkeze alan bir müzik akımı olarak ortaya çıkmıştır. Bu akım, atonal müzik ve on iki ton sistemine tepki olarak gelişmiş, Zen felsefesinden ilham alarak basitlik ve sürekliliği benimsemiştir. Tekrar unsuru, minimalist müziğin temel bir yapı taşıdır ve bu unsur, müzikte döngüsellik ve süreklilik sağlayarak yaratıcı ve dönüştürücü bir güç sunmaktadır. Araştırmada, minimalist müzikte kullanılan tekrar teknikleri analiz edilmiştir. İncelenen teknikler arasında faz kayması, dron, nota ekleme-çıkarma ve katmanlama gibi yöntemler yer almaktadır. Bu tekniklerin, minimalist müzik temsilcilerinden Philip Glass, Steve Reich ve La Monte Young gibi bestecilerin scribd uygulamasından ulaşılan scribd.com eserlerindeki uygulamaları değerlendirilmiştir. Çalışma, müzikte tekrarın yalnızca bir teknik unsur olmadığını, aynı zamanda müzikal anlatıya estetik bir derinlik ve dönüşüm kattığını ortaya koymaktadır. Sonuç olarak tekrar, minimalist müzikte hem bir yapı taşı hem de bir ifade biçimi olarak karşımıza çıkmaktadır. Araştırma, bu müzik anlayışının geleneksel teleolojik yapılardan uzaklaştığını ve her tekrarda farklılık yaratma potansiyelini vurguladığını göstermektedir. Minimalist müzik, çağdaş müzik dünyasında sadelik ve derinlik arayışlarına yanıt verirken, gelecekte farklı kültürel ve teknolojik bağlamlarda evrilerek müzik dünyasına yenilikler sunma potansiyeli taşımaktadır. Bu bağlamda, çalışma, tekrarın minimalist müziğin estetik ve teknik kimliğindeki merkezi rolünü açıkça ortaya koymaktadır.

Makale detayları

The Element of Repetition and Techniques in Minimalist Music

Yazarlar:

Duygu Deniz Demirel

Yayıncı:

Ege University

Ana Başlıklar:

Performans Sanatları (Diğer)

Dergi:

Eurasian Journal of Music and Dance Issue 26, pp.350-371

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001353837

pISSN:

2651-4818

minimalism

minimalist music

repetition in music

contemporary musicminimalizm

minimalist müzik

müzikte tekrar

çağdaş müzik

zen felsefesi

Sayı

Makale detayları

Yazarlar: Duygu Deniz Demirel

Yayıncı: Ege University

Ana Başlıklar: Performans Sanatları (Diğer)

Dergi: Eurasian Journal of Music and Dance Issue 26, pp.350-371

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001353837

pISSN: 2651-4818

Sayı

Yazarlar:

Duygu Deniz Demirel

Yayıncı:

Ege University

Ana Başlıklar:

Performans Sanatları (Diğer)

Dergi:

Eurasian Journal of Music and Dance Issue 26, pp.350-371

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001353837

pISSN:

2651-4818