No matter how difficult it is to define Minimalism, it is undeniable that it is a very exciting time to be listening to and thinking about it. The very actions we take, listening to the music, buying CDs, writing about the music, reading about the composers, are still changing the history of the movement. All of the comfortable labels we have for historical movements were coined long after they were over, and it is possible that the greatest Minimalist composer is someone we’ve never heard of. Furthermore, there is great danger in establishing a narrative. It can cause us to reject composers, and their music for fear of upsetting a comfortable set of ideas that we have become invested in.
If there is a Minimalist canon, however, Piano Phase is in it. I want to look at three different facets of Steve Reich’s 1967 composition Piano Phase and explain how Piano Phase’s roots in mechanical delay opened the door for experimentation in the difference between sound production and the final acoustic product, it pioneered the idea of musical process as iterated function, and it was the first acoustic work with shifting, yet not cleanly divided, sections. This particular composition contains the ideas that Reich has expanded upon in his instrumental music, as well as provided a new theoretical framework for experimental music.
hammer & jack 