- pg 222 -

But not nearly so far as he [Reich] was to go in Music for 18 Musicians, a radiant work which for me remains his masterpiece and the high point of ensemble music of the 1970s by composers identified as Minimalist, as In C was of the 1960s, and perhaps John Adam's Fearful Symmetries of the 1980s. It may be immediately objected that Adams's piece goes beyond the boundaries of Minimalism with its sophisticated orchestration and harmonic range, with shocking half-step modulations etc. I would agree, but a similar argument may be advanced vis-a-vis Music for 18 Musicians. Adams's piece displays continuity with its Minimalist roots primarily in its repetition -- though abrupt modulations were a feature of Minimalism going back to Glass's Changing Parts. ...

- pg 250 -

... Marshall explored musique concrete, and his live/tape compositions in particular, at once austere and grimly lyrical, have a humane quality absent from much Minimalism, combined with an aversion to sentimentality unshared with some of its later offshoots. Inspired by the Reich tape works in 1973, he created the text-sound piece Cortez and others. In the late seventies he began to integrate with telling effect his interests in both long-tone and repetitive Minimalism, electronic music, European Romanticism, and Indonesian music, which he had studied in situ in 1971. His 1976 The Fragility Cycles is one of the finest post-Minimal compositions and matched by subsequent works like Fog Tropes, Gradual Requiem, and Hidden Voices.