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Postmodern Music at BAM: Appealing, Monotonous, and Unpredictable
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13932 |
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Section : |
THE ARTS
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| Issue
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2 / 1988 |
1,962 Words |
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Tom Pniewski
Tom Pniewski is a musicologist at Hunter College in New York. |
The great musical centerpiece of the 1987 Next Wave Festival was John Adams' highly acclaimed opera Nixon in China, directed by wunderkind Peter Sellars. But a number of smaller production deserved equal attention, and lead to some speculation about what is positive and unique about Postmodern American music.
A quartet of names dominated the musical offerings, some old and some new, some unforgettable and some best forgotten. There were old friends such as Steve Reich and Meredith Monk, as well as the trendier Elliott Sharp and the hard-to-justify Peter Zummo.
Reich, at fifty-one years of age, is the grand old man of Postmodern American music. He began his musical odyssey after receiving a degree in philosophy at Cornell; study at New York's Juilliard School was followed by a move west, work with Darius Milhaud and Luciano Berio, and a lot of electric tinkering in the 1960s.
One evening in San Francisco, Reich set up two recorders playing identical tapes. Because of minute differences in their mechanics, the two machines varied slightly in their playback speeds; the music was occasionally synchronized, but more often the two tracks were slightly out of alignment with each other.
Reich began to explore and exploit this phenomenon. He relished the use of small differences between two or more acoustic sources, and began to write music that moved in and out of synchronization with itself.
An early and still classic example is Clapping Music. (Reich has
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