This article reconsiders the experimental phase of musical minimalism, indicating its significance as its own movement phase.
this article reconsiders the “experimental” stage of musical minimalism in the late 1950s and early 1960s as an autonomous phase in the formation of the movement, rather than merely a “prehistory” of so-called classical minimalism.
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Khaydarova Farangiz Azamatovna (2026) studied this question.
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