Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.

La musique de Charlemagne Palestine semble transcender les approches musicales américaines comme européennes des vingtième et vingt-et-unième siècles. Si sa pratique de la musique drone prend ses racines dans ses années passées enfant à chanter des lamentations dans les synagogues en tant que choriste, puis jeune adulte dans son expérience de carillonneur à l'église Saint-Thomas de Manhattan, et plus tard dans les approches expérimentales post-cagiennes et son étude vocale de la musique hindoustanie, son oeuvre, qui à de nombreux égards évoque également certaines esthétiques musicales de l'avant-garde européenne, oscille entre musique, installation et performance. C'est au travers de l'étude de la pièce "Schlingen-Blängen" pour orgue, sous le prisme de l'heuristique musicale, que cette thèse tente d'appréhender la quête du "son d'or" du musicien contemporain new-yorkais d'origine, bruxellois d'adoption. / The music of Charlemagne Palestine seems to transcend both american and european musical mouvements of the twentieth and twentieth-first centuries. His approach of drone music finds its origins in his early years when he would participate in synanogue choirs, singing lamentations, as well as in his young adult years when he would work as a bell ringer in the church of Saint-Thomas in Manhattan. Later on, his experimental post-Cage music approach and his vocal studies of Hindustani music, all gave birth to a body of work that oscillates between music, installation and performance, not without recalling in various ways certain european avant-garde musical esthetics. The present doctoral thesis aims to study the piece "Schlingen-Blängen" for organ, via a musical heuristics approach, in order to apprehend the pursuit of the "golden sound" in the oeuvre of the New-York contemporary artist, based in Brussels.

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American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.

Pavla Šedinová: Minimal art and minimal music Abstract: This thesis focuses on the theoretical description of minimalism in the fine arts and music. It follows the progression of minimisation in art in the first half of the twentieth century, which culminates in minimal art and minimal music, and compares its principles with multiplication in the work of Andy Warhol and Velvet Underground. At the same time the paper discusses the difference between American minimalism and its European and Czech parallels. The aim of this thesis is describing main concepts of minimalism that could be relevant for teaching purposes. The pedagogical part of the thesis focuses on the manner in which the obtained information about the fine arts and music could be utilised in teaching, particularly in Elementary Art Schools. The practical part demonstrates my own approach to minimalist principles.