When I think about the reference to baroque, I'm most interested in how art was integrated into domestic life. That's why I like fresco, because fresco is part of the wall. It's art, but it's decoration at the same time.
When I say that there's commonality, I mean more in terms of the sort of techniques by which we perceive Baroque and minimalist music rather than the techniques used to compose them. I know that's being sort of overly complicated.
My mother's family were full-on Irish Catholics - faith in an elaborate old fashioned, highly conservative and madly baroque style. I sort of fell out of the tribe over women's rights and social justice issues when I was just 13 years old.
What is at the higher levels of meaning consciousness is like a hyperspace in which each point is equidistant from the other and where 'the center is everywhere and the circumference is nowhere'? The mythologies of the occult seem like baroque music: there is an overall similar quality of sound and movement, but, upon examination, each piece of music is unique; Vivaldi and Scarlatti are similar and different.
The essential factor in the transition of the baroque to photography is not the perfecting of a physical process... rather does it lie in a psychological fact, to wit, in completely satisfying our appetite for illusion by a mechanical reproduction in the making of which man plays not part. The solution is not to be found in the result achieved, but in the way of achieving it.
I think in Baroque music, especially in the case of Bach, what really transformed Bach's musical language, what changed it for him was hearing Vivaldi, hearing the sort of manipulation of small cells of information and patterns in order to generate sort of huge blocks of harmony.