Thinking in and about music: analytical reflections on Milton Babbitt's music and thought
"Milton Babbitt (1916-2011) was, at once, one of the century's foremost composers and a founder of American music theory. These two aspects of his creative life-"thinking in" and "thinking about" music, as he would put it-nourished each other. Theory and analysis inspir...
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| Format: | Book |
| Language: | English |
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New York, NY
Oxford University Press
[2021]
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| Online Access: | Inhaltsverzeichnis |
| Summary: | "Milton Babbitt (1916-2011) was, at once, one of the century's foremost composers and a founder of American music theory. These two aspects of his creative life-"thinking in" and "thinking about" music, as he would put it-nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. Babbitt's idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science-at least as much as more obviously relevant, and more frequently cited, predecessors such as Arnold Schoenberg-provide insight into his aesthetics and compositional technique. Examination of Babbitt's newly available sketch materials sheds additional light on his procedures. But a close look at his music reveals a host of concerns unaccounted for in his theories, some of which seem to directly contradict theoretical expectations. New analytical models are needed to complement those suggested by Babbitt's theories. Departing from the serial logic of Babbitt's writings, his compositional procedures, and most previous work on the subject-and in an attempt to discuss Babbitt's music as it is actually heard rather than just deciphered-the book brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality. The result is a richly multi-faceted look at one of the twentieth century's most fascinating musical minds"-- |
| Physical Description: | xviii, 299 Seiten Notenbeispiele |
| ISBN: | 9780190949235 |
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| 505 | 8 | |a On Milton Babbitt, Schenkerian -- Construction, Cognition, and the Role of the Surface -- The Seam in Babbitt's Compositional Development : Composition for Tenor and Six Instruments -- The Surface and the Series in Composition for Four Instruments -- Poetic Form and Psychological Portraiture in Babbitt's Early Texted Works -- Completeness and Temporality -- Babbitt's Gestural Dialectics -- Afterword. "Anything Vital is Problematical" | |
| 520 | 3 | |a "Milton Babbitt (1916-2011) was, at once, one of the century's foremost composers and a founder of American music theory. These two aspects of his creative life-"thinking in" and "thinking about" music, as he would put it-nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. Babbitt's idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science-at least as much as more obviously relevant, and more frequently cited, predecessors such as Arnold Schoenberg-provide insight into his aesthetics and compositional technique. Examination of Babbitt's newly available sketch materials sheds additional light on his procedures. But a close look at his music reveals a host of concerns unaccounted for in his theories, some of which seem to directly contradict theoretical expectations. New analytical models are needed to complement those suggested by Babbitt's theories. Departing from the serial logic of Babbitt's writings, his compositional procedures, and most previous work on the subject-and in an attempt to discuss Babbitt's music as it is actually heard rather than just deciphered-the book brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality. The result is a richly multi-faceted look at one of the twentieth century's most fascinating musical minds"-- | |
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Contents Preface Acknowledgments Permissions About the Companion Website ix xiii xv xix 1. On Milton Babbitt, Schenkerian Introduction Goethe, Schenker, and Hierarchical Organicism Babbitt and Schenker The Implications of the Series Analepsis and Prolepsis Conclusion ֊1 2. Construction, Cognition, and the Role of the Surface A Way into Emblems Rudolf Carnap and Phenomenalistic Construction George A. Miller, Information Processing, and Memory Babbitt’s Cognitively Informed Compositional Techniques Organicism as Cognitive Heuristic: The “Schenker Memorative Approach” “The Requirements”—and Responsibilities—“of Cognitive Communication” Conclusion: Babbitt’s Psychology and the Analysis of His Music 1 5 10 15 26 33 36 36 39 47 52 57 59 61 3. The Seam in Babbitt’s Compositional Development: Composition for Tenor and Six Instruments, Its Precedents, and Its Consequences “My Most Difficult Piece” Trichordal and All-Partition Arrays “Nearly Divine” Proportions Generative Polyvocality Extending the Trichordal Array The Arrays of Composition for Tenor and Six Instruments “Invariants of Order Embedded in Invariants of Content” 68 68 71 75 82 83 88 101 4. The Surface and the Series in Composition for Four.Instruments 107
viii CONTENTS 5. Poetic Form and Psychological Portraiture in Babbitt’s Early Texted Works Introduction “The Widow’s Lament in Springtime” Du Two Sonnets Vision and Prayer ■ Philomel Conclusion 125 125 130 138 161 172 177 195 6. Completeness and Temporality Introduction Over-, Under-, and Multiple Completeness Signals and Verticality Conclusion: “Sounds of Relations” 196 196 199 217 229 7. Babbitt’s Gestural Dialectics Introduction: The First Measure of Post-Partitions Sources of Embodied Energetics: Kinesthetic Empathy and Musical Forces The Gestural Function of Virtuosity Liminal Periodicity and the Threat of Discontinuity Serial Anomalies and Text Setting Rhetorical Closing Gestures in Three Late Piano Pieces Conclusion: Babbitt’s Gestural Music and Formalist Discourse 231 231 Afterword: “Anything Vital is Problematical” Glossary References Index 269 271 275 287 234 242 245 253 257 265 |
| adam_txt |
Contents Preface Acknowledgments Permissions About the Companion Website ix xiii xv xix 1. On Milton Babbitt, Schenkerian Introduction Goethe, Schenker, and Hierarchical Organicism Babbitt and Schenker The Implications of the Series Analepsis and Prolepsis Conclusion ֊1 2. Construction, Cognition, and the Role of the Surface A Way into Emblems Rudolf Carnap and Phenomenalistic Construction George A. Miller, Information Processing, and Memory Babbitt’s Cognitively Informed Compositional Techniques Organicism as Cognitive Heuristic: The “Schenker Memorative Approach” “The Requirements”—and Responsibilities—“of Cognitive Communication” Conclusion: Babbitt’s Psychology and the Analysis of His Music 1 5 10 15 26 33 36 36 39 47 52 57 59 61 3. The Seam in Babbitt’s Compositional Development: Composition for Tenor and Six Instruments, Its Precedents, and Its Consequences “My Most Difficult Piece” Trichordal and All-Partition Arrays “Nearly Divine” Proportions Generative Polyvocality Extending the Trichordal Array The Arrays of Composition for Tenor and Six Instruments “Invariants of Order Embedded in Invariants of Content” 68 68 71 75 82 83 88 101 4. The Surface and the Series in Composition for Four.Instruments 107
viii CONTENTS 5. Poetic Form and Psychological Portraiture in Babbitt’s Early Texted Works Introduction “The Widow’s Lament in Springtime” Du Two Sonnets Vision and Prayer ■ Philomel Conclusion 125 125 130 138 161 172 177 195 6. Completeness and Temporality Introduction Over-, Under-, and Multiple Completeness Signals and Verticality Conclusion: “Sounds of Relations” 196 196 199 217 229 7. Babbitt’s Gestural Dialectics Introduction: The First Measure of Post-Partitions Sources of Embodied Energetics: Kinesthetic Empathy and Musical Forces The Gestural Function of Virtuosity Liminal Periodicity and the Threat of Discontinuity Serial Anomalies and Text Setting Rhetorical Closing Gestures in Three Late Piano Pieces Conclusion: Babbitt’s Gestural Music and Formalist Discourse 231 231 Afterword: “Anything Vital is Problematical” Glossary References Index 269 271 275 287 234 242 245 253 257 265 |
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| spelling | Bernstein, Zachary 1987- Verfasser (DE-588)1043523642 aut Thinking in and about music analytical reflections on Milton Babbitt's music and thought Zachary Bernstein New York, NY Oxford University Press [2021] © 2021 xviii, 299 Seiten Notenbeispiele txt rdacontent n rdamedia nc rdacarrier On Milton Babbitt, Schenkerian -- Construction, Cognition, and the Role of the Surface -- The Seam in Babbitt's Compositional Development : Composition for Tenor and Six Instruments -- The Surface and the Series in Composition for Four Instruments -- Poetic Form and Psychological Portraiture in Babbitt's Early Texted Works -- Completeness and Temporality -- Babbitt's Gestural Dialectics -- Afterword. "Anything Vital is Problematical" "Milton Babbitt (1916-2011) was, at once, one of the century's foremost composers and a founder of American music theory. These two aspects of his creative life-"thinking in" and "thinking about" music, as he would put it-nourished each other. Theory and analysis inspired fresh compositional ideas, and compositional concerns focused theoretical and analytical inquiry. Accordingly, this book undertakes an excavation of the sources of his theorizing as a guide to analysis of his music. Babbitt's idiosyncratic synthesis of ideas from Heinrich Schenker, analytic philosophy, and cognitive science-at least as much as more obviously relevant, and more frequently cited, predecessors such as Arnold Schoenberg-provide insight into his aesthetics and compositional technique. Examination of Babbitt's newly available sketch materials sheds additional light on his procedures. But a close look at his music reveals a host of concerns unaccounted for in his theories, some of which seem to directly contradict theoretical expectations. New analytical models are needed to complement those suggested by Babbitt's theories. Departing from the serial logic of Babbitt's writings, his compositional procedures, and most previous work on the subject-and in an attempt to discuss Babbitt's music as it is actually heard rather than just deciphered-the book brings to bear theories of gesture and embodiment, rhetoric, text setting, and temporality. The result is a richly multi-faceted look at one of the twentieth century's most fascinating musical minds"-- Babbitt, Milton 1916-2011 (DE-588)119217252 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Babbitt, Milton / 1916-2011 / Criticism and interpretation Music / 20th century / History and criticism Schenker, Heinrich / 1868-1935 / Influence Babbitt, Milton / 1916-2011 Schenker, Heinrich / 1868-1935 Influence (Literary, artistic, etc.) Music 1900-1999 Criticism, interpretation, etc Babbitt, Milton 1916-2011 (DE-588)119217252 p Musiktheorie (DE-588)4040876-0 s DE-604 Online version 9780190949259 Bernstein, Zachary, 1987- Thinking in and about music New York : Oxford University Press, 2021 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032721030&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Bernstein, Zachary 1987- Thinking in and about music analytical reflections on Milton Babbitt's music and thought On Milton Babbitt, Schenkerian -- Construction, Cognition, and the Role of the Surface -- The Seam in Babbitt's Compositional Development : Composition for Tenor and Six Instruments -- The Surface and the Series in Composition for Four Instruments -- Poetic Form and Psychological Portraiture in Babbitt's Early Texted Works -- Completeness and Temporality -- Babbitt's Gestural Dialectics -- Afterword. "Anything Vital is Problematical" Babbitt, Milton 1916-2011 (DE-588)119217252 gnd Musiktheorie (DE-588)4040876-0 gnd |
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| title | Thinking in and about music analytical reflections on Milton Babbitt's music and thought |
| title_auth | Thinking in and about music analytical reflections on Milton Babbitt's music and thought |
| title_exact_search | Thinking in and about music analytical reflections on Milton Babbitt's music and thought |
| title_exact_search_txtP | Thinking in and about music analytical reflections on Milton Babbitt's music and thought |
| title_full | Thinking in and about music analytical reflections on Milton Babbitt's music and thought Zachary Bernstein |
| title_fullStr | Thinking in and about music analytical reflections on Milton Babbitt's music and thought Zachary Bernstein |
| title_full_unstemmed | Thinking in and about music analytical reflections on Milton Babbitt's music and thought Zachary Bernstein |
| title_short | Thinking in and about music |
| title_sort | thinking in and about music analytical reflections on milton babbitt s music and thought |
| title_sub | analytical reflections on Milton Babbitt's music and thought |
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