[Column] Contemporary Classical / Neo-minimalism A new wave of contemporary classical music
Column en Afro-Fusion Afrobeat![[Column] Contemporary Classical / Neo-minimalism A new wave of contemporary classical music](/../assets/images/column-contemporary-classical-neo-minimalism.webp)
Introduction: Modern Classical/Neo-Minimalism Trend
Text: mmr｜Theme: About this trend, based on facts such as composition techniques, production environment, and institutional background, rather than trends or emotional evaluations.
Classical music since the latter half of the 20th century has branched out in a variety of directions through experiments with atonality, aleatorism, and electronic music. In the 21st century, a trend that emphasizes ““tonality,” ““repetition,” ““tranquility,” and ““the listening experience itself” has once again gained international attention. This is the area generally referred to as Contemporary Classical or Neo-Minimalism.
This trend is unique in that it has been formed across both traditional classical music institutions and independent music production environments. Artists such as Max Richter, Nils Frahm, and Hauschka all have classical backgrounds, but have actively incorporated recording techniques, post-production, improvisation, and electronic instruments.
Historical background: Classic after minimalism
The establishment of 20th century minimalism
Established in the United States in the 1960s by La Monte Young, Terry Riley, Steve Reich, and Philip Glass, minimalism was characterized by short repetitions, gradual changes, and clear metrical structures. This is understood as a reaction to the celery music of the time and the increasingly complex avant-garde music.
Minimalism eventually influenced opera, film music, and dance music, and became institutionally accepted in classical music in the second half of the 20th century.
Transition to post-minimalism
Since the 1980s, minimalism has moved away from simple repetition and has developed into a more melodic, harmonic, and lyrical direction. Post-minimalism, represented by John Adams, established a writing style that coexisted with traditional orchestration and repetitive structures.
This flow became the foundation of later modern classical/neo-minimalism.
Concept of Contemporary Classical
Establishment as a term
The term “Contemporary Classical” does not refer to a strict style, but is primarily used as a comprehensive term to broadly refer to classical music from the 2000s onwards. It has come to be used especially in record stores, distribution services, and music festivals to distinguish it from traditional contemporary music.
“It is important that the classification is based on the distribution and listening environment rather than the genre name.”
Changes in institutions and environment
Composers of this era did not necessarily base their activities primarily on commissions from orchestras or opera houses. Home studios, independent labels and digital distribution play an important role.
Another feature is that recorded works are considered as important, if not more important, than concerts.
Musical characteristics of neo-minimalism
Repetition and sense of time
In neo-minimalism, repetition functions not as a structural constraint but as a technique for manipulating the listener’s perception of time. By continuously repeating certain sound patterns, the music moves away from linear progression and creates a lingering sense of time. This is a different attitude from the teleological form of the first half of the 20th century.
Repetitions may maintain complete identity, or they may involve subtle changes in accent, harmony, range, or timbre. The minimization of this difference is the core of the structure formation in neo-minimalism.
Tonality and harmony
Many composers maintain a clear tonal center, but do not assume a functional harmonic progression. The emphasis is on the sustaining and overlapping chord resonances rather than the resolution to the tonic. Triads, addition chords, and open perfect fifth structures are frequently used.
This harmonic processing is not a reproduction of 19th century Romanticism, but can be understood as a choice to ensure acoustic stability.
Tone design
In neo-minimalism, timbre is as important a component as melody and harmony, or even more so. Felt pianos, prepared pianos, string instruments with muted instruments, and electronically processed reverberations are used, and the duration and decay of the resonance itself forms the form.
The recording environment and microphone placement are often planned from the composition stage.
Max Richter
Career and Educational Background
Max Richter is a German-born, UK-based composer. He studied at the University of Edinburgh and the Royal Academy of Music, where he studied under Luciano Berio.
Style
His works combine the repetitive structure of minimalism with a romantic sense of harmony. His unique method is to combine string orchestra, piano, and electronic acoustics.
He has also written music for film, television, and ballet, blurring the boundaries between concert music and film music.
Nils Frahm
Background
Nils Frahm is a German composer and pianist who received a classical music education from an early age. His activities are centered around Berlin.
Studio and Instruments
Frahm uses his own studio as the center of his creations, combining multiple pianos, synthesizers, and tape machines. His work is characterized by a production method that combines improvisation and editing.
“He differs from traditional classical composers in that performance, composition, and recording are not separated.”
Hauschka
Modern developments in prepared piano
Hauschka (Volker Bertelmann) is a German composer and pianist, known for his works centered on the preparatory piano. By placing felt, pieces of wood, metal, tape, etc. inside the piano, he brings out percussive and noise-like tones.
The technique itself has its origins in mid-20th century experimental music, but Hauschka combined it with repetitive structures and reinvented it as a highly audible form.
Composition and improvisation
His works include both strictly notated patterns and improvisational elements. As a certain rhythmic pattern is repeated, minute changes caused by the performer’s physical manipulation drive the music.
Connection with other fields
Hauschka works in multiple fields, including film music, contemporary art, and performing arts, demonstrating that neo-minimalism is not limited to a specific system.
Composition technique analysis: structure, notation, production
Simplification and openness of notation
Neo-minimalism does not necessarily follow the traditional score format in which every note is notated in detail. Only the repeat unit, meter, and harmonic framework are specified, and the details are often left to the performer.
This differs from aleatory music in that the resulting acoustics are kept within a somewhat predictable range.
Layer structure
Multiple simple layers are layered together to form a complex sound. Each layer maintains its independence and is temporally synchronized.
The act of composing called editing
Post-recording editing, looping, and dynamics adjustments define the structure of the piece itself. The editing process is not treated as post-processing, but as an extension of the composition process.
Listening environment and listening culture
Prerequisites for personal hearing
Much of contemporary classical/neo-minimalism is premised on personal listening through headphones or small speakers rather than in a concert hall. This is because minute changes in volume and reverberation have important meaning.
Space and music
It is often performed and reproduced in exhibition spaces, museums, and installations. Music is both a time art and an element that defines space.
“Silence and blank spaces also have different meanings depending on the listening environment.”
Acceptance of long works
With the spread of streaming environments, conditions have been created for long static works to be listened to on a daily basis.
Label history and distribution
Role of independent labels
Since the 2000s, the number of independent labels specializing in contemporary classical music has increased internationally. These labels tend to emphasize recording quality, jacket design, and artist autonomy.
The boundary between classic and indie
These labels adopted sales and distribution channels different from traditional classical music distribution networks, contributing to the expansion of their listener base.
Institutional impact
As a result, a situation has arisen in which multiple institutions such as concert halls, the film industry, and art institutions are connected.
Chronology
Diagram: Changes in the production process
Conclusion
Contemporary Classical/Neo-Minimalism has been shaped by multiple factors, including the history since minimalism, advances in recording technology, and changes in the listening environment. Max Richter, Nils Frahm, and Hauschka are among its representative practitioners.
“Modern classical/neo-minimalism is a practice that reflects the music production environment of the 21st century.”
![[Column] Afrobeat / Afro-Fusion - Structural changes and global expansion of West African music](/../assets/images/column-Afrobeat-Afro-Fusion.webp)
