Features of Philip Glass’ Musical Minimalism: Principles of Additive Structure

Abstract

The purpose of the article is to identify the features of the additive process technique of F. Glass in the context of musical minimalism. Research methodology. The method of analysis and synthesis, the method of theoretical analysis, the biographical method, the typological method, the method of comparative analysis, the method of genre-style analysis were applied. Scientific novelty. The work of the American composer F. Glass is considered in the context of the formation of musical minimalism and the features of the additive process technique as one of the typical creative techniques in the American minimalist musical style are revealed. Conclusions. The work of F. Glass is extremely diverse, covering operas, symphonies, concerts, chamber music, theatre music, dance music, soundtracks, piano works. His music combines Indian melody, minimalism and a unique author’s style, and also traces such techniques characteristic of postmodernism as the rediscovery of ethnic, foreign culture, eclecticism or hybridity, the dominance of quotations, etc. F. Glass shows interest in the acoustic sound that arises as a result of the repetition of notes, as well as in the sound formed by combining notes played by two instruments. Actively refers to the use of techniques such as additive process, repetitive construction, continuous tremolo movement, pulsation, stable harmony of parts and sudden modulations. F. Glass’s “additive process technique” is derived from the “additive structure” of Indian music. It refers to a simple melody or rhythm as a basis. The repetition process uses a pattern that is constantly increased or decreased using minor units to form a musical phrase.