ABSTRACT
This chapter focuses on Cook's basic models of multimedia, the framework based on Deleuze and Foucault's theories relating to the mediation of difference, Leydon's typology of minimalist tropes, together with aspects relating to intertextuality, existentialism and the more traditional forms of analysis. Due to a primary focus on anti-dialectical processes, this deconstructive model shows more relevance to minimalist-derived music than Cook's largely dialectical model. The chapter examines the analysis of Philip Glass's film soundtracks might however expand on the generic list of harmonic progressions, demonstrating a formulaic approach to the composition of repetitive tonal structures. It also examines the interaction between musical and visual temporality, and the lack of a dialectical resolution, assumes a more prominent position. The chapter shows how new meanings can be extracted out of pre-existing music. In the case of the Orange commercial, for instance, the abstract nature of Reich's music led to an interaction with other media.
