DISCO AT THE MET
Rock critics have understandably been quicker to call attention to the stylistic affinities between Glass's music (or minimalism generally) and pop, although few have put the matter bluntly in terms of influence. Michael Walsh, writing in Time magazine, was content to observe that “rock and minimalism share obvious characteristics, including a steady beat, limited harmonies and hypnotic repetition.”48 Robert Coe, in the New York Times magazine, credited the Philip Glass Ensemble with providing the means “to place new experimental music on a continuum ranging from academic modernism to progressive rock and jazz,”49 and noted particularly Glass's apparent influence on disco, the 1970s commercial genre with which Terry Riley had also been associated. But the chronology of Glass's relationship with rock does not necessarily support the one-way model; and one young critic, Gregory Bloch, has dared suggest that disco, that most commercial (and therefore disdained) of rock genres, may have been among the elements that conjoined to produce Glass's “operatic” style.50
- Citation (MLA):
- Richard Taruskin. "Chapter 8 A Harmonious Avant-Garde?." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 9 Dec. 2016. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-008011.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 8 A Harmonious Avant-Garde?. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 9 Dec. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-008011.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 8 A Harmonious Avant-Garde?." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 9 Dec. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-008011.xml