"I had been interested in Indian music and I actually started studying Tableaus before I met him"
About this Quote
Riley’s sentence has the casualness of a shrug, but it’s doing careful historical work. By stressing “I had been interested” and “I actually started,” he preemptively rejects the tidy origin story in which a charismatic “him” (a guru, a collaborator, a gatekeeper) awakens a Western composer to India. The emphasis is almost defensive, a small act of authorship over his own influences: he wasn’t converted; he arrived curious.
The choice of “actually” is the tell. It signals that someone, somewhere, has flattened his biography into a before-and-after narrative, and Riley is correcting the record in real time. That correction matters because mid-century American minimalism has often been framed as a kind of tasteful borrowing from non-Western traditions, with credit and agency unevenly distributed. Riley’s phrasing tries to shift the balance: he positions his engagement with Indian music as sustained study rather than exotic sampling, and as an independent trajectory rather than an accessory to a famous meeting.
Contextually, this lands in the 1960s-70s ecosystem where Indian classical music circulated through universities, recordings, and countercultural networks, becoming both a serious discipline and a fashionable badge of spiritual sophistication. Riley’s subtext is: don’t mistake my work for a postcard from “the East.” He’s insisting on process - apprenticeship, practice, time - and on the idea that influence isn’t a lightning bolt from a single encounter but a long, self-directed alignment of ears, technique, and desire.
The choice of “actually” is the tell. It signals that someone, somewhere, has flattened his biography into a before-and-after narrative, and Riley is correcting the record in real time. That correction matters because mid-century American minimalism has often been framed as a kind of tasteful borrowing from non-Western traditions, with credit and agency unevenly distributed. Riley’s phrasing tries to shift the balance: he positions his engagement with Indian music as sustained study rather than exotic sampling, and as an independent trajectory rather than an accessory to a famous meeting.
Contextually, this lands in the 1960s-70s ecosystem where Indian classical music circulated through universities, recordings, and countercultural networks, becoming both a serious discipline and a fashionable badge of spiritual sophistication. Riley’s subtext is: don’t mistake my work for a postcard from “the East.” He’s insisting on process - apprenticeship, practice, time - and on the idea that influence isn’t a lightning bolt from a single encounter but a long, self-directed alignment of ears, technique, and desire.
Quote Details
| Topic | Music |
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