[2] The style acquired a name around 1990, when it became evident to composers working in New York City that a number of them, including John Luther Adams, Glenn Branca, Rhys Chatham, Kyle Gann, Michael Gordon, Arthur Jarvinen, Bernadette Speach, Ben Neill, Larry Polansky, Mikel Rouse, and Evan Ziporyn, were employing similar types of global tempo structures in their music.
[3] Others include Eve Beglarian, Allison Cameron, Nick Didkovsky, David First, Phil Kline, and Lois V.
[4] The term totalist refers to the aims of the music, in trying to have enough surface rhythmic energy, but also to contain enough background complexity.
There is also an echo in the term of serialism's "total organization," here drawn not from the 12-tone row, but from Henry Cowell's theories about using the same structuring devices for rhythm that have been traditionally used for pitch.
[5] In practice, totalist music can be consonant, dissonant, or both, but generally restricts itself to a small number of sonorities within any given piece.