| The solo piano works China Gates (1977) and Phrygian Gates (1977--78) define the beginnings of the mature style of John Adams, which was based in elements associated with American minimalist music: constant pulsation, cyclic structure, slow harmonic rhythm, modality, and a non-teleological form. These elements appear to be all but absent in Adams's only other solo piano work, American Berserk (2001), leaving the listener to speculate that Adams may have, in the course of 24 years, abandoned the techniques of minimalism. This dissertation examines how the evolution of Adams's compositional style necessitates technical, musical, and mental approaches specific to the learning process and performance of each piece. Additionally, this study contributes the first sustained discussion of American Berserk and its place in Adams' s compositional development. A brief history of minimalism is presented, and the salient features of the minimalist style are detailed using Jan LaRue's model of style analysis. Adams's evolving style is described as a progression through three phases (Preclassic, Classic, and Mannerist) based on Leonard Meyer's theory of stylistic development. Each phase is described in terms of a hybrid Meyer-LaRue model, drawing on examples from Adams's body of work. Extended analyses of Adams's three solo piano works delineate the structure and form of each piece; examine the musical materials, techniques, and processes used; and identify specific stylistic influences. In conclusion, it will be suggested that Adams's American Berserk manifests a Mannerist approach to minimalism, which distinguishes the composer's recent work. |
