This article considers several prominent pieces of minimalism in their movement from primary sound recording to secondary transcription. In place of the score-based formalism of much musicological scholarship on minimalism, I draw on my own archival work and interviews to consider the frequency of transcriptions of minimalism, as well as the politico-historical aspects of minimalism's development that are elided when the distinction between score and transcription is not taken into account. I argue that defining minimalism in relation to material practices of composing, writing, performing, and listening – rather than to formal features like gradual process, long duration, and diatonicism – helps in defining minimalism as a cohesive field of musical production.

中文翻译：

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“经典”极简主义中的转录、录音和权威

本文考虑了从初级录音到二级转录的几个突出的极简主义作品。代替许多关于极简主义的音乐学学术的基于分数的形式主义，我利用我自己的档案工作和采访来考虑极简主义的转录频率，以及极简主义发展的政治历史方面，这些方面在区分时被忽略了不考虑得分和转录之间的关系。我认为，将极简主义定义为与作曲、写作、表演和聆听的物质实践相关——而不是像渐进过程、持续时间长和全音阶等形式特征——有助于将极简主义定义为音乐制作的一个有凝聚力的领域。