基本説明
Edited by Stephen Peles, with Stephen Dembski, Andrew Mead, and Joseph N. Straus.
Full Description
Like his compositions, Milton Babbitt's writings about music have exerted an extraordinary influence on postwar music and thinking about music. In essays and public addresses spanning fifty years, Babbitt has grappled profoundly with central questions in the composition and apprehension of music. These writings range from personal memoirs and critical reviews to closely reasoned metatheoretical speculations and technical exegesis. In the history of music theory, there has been only a small handful of figures who have produced work of comparable stature. Taken as a whole, Babbitt's writings are not only an invaluable testimony to his thinking - a priceless primary source for the intellectual and cultural history of the second half of the twentieth century - but also a remarkable achievement in their own right. Prior to this collection, Babbitt's writings were scattered through a wide variety of journals, books, and magazines - many hard to find and some unavailable - and often contained typographical errors and editorial corruptions of various kinds. This volume of almost fifty pieces gathers, corrects, and annotates virtually everything of significance that Babbitt has written.The result is complete, authoritative, and fully accessible - the definitive source of Babbitt's influential ideas.
Contents
Acknowledgments vii Preface ix The String Quartets of Bartok (1949) 1 Review of Leibowitz, Schoenberg et son ecole (1950) 10 Review of Le Systeme Dodecaphonique (1950) 16 Review of Salzer, Structural Hearing (1952) 22 Tintinnabulation of the Crochets (Review of Halsey Stevens, The Life and Music of Bartok) (1953) 31 Musical America's Several Generations (1954) 34 Some Aspects of Twelve-Tone Composition (1955) 38 The Composer as Specialist (1958) 48 Twelve-Tone Invariants as Compositional Determinants (1960) 55 The Revolution in Sound: Electronic Music (1960) 70 Past and Present Concepts of the Nature and Limits of Music (1961) 78 Set Structure as a Compositional Determinant (1961) 86 Twelve-Tone Rhythmic Structure and the Electronic Medium (1962) 109 Reply to George Perle's "Babbitt, Lewin, and Schoenberg: A Critique" (1963) 141 Remarks on the Recent Stravinsky (1964) 147 The Synthesis, Perception, and Specification of Musical Time (1964) 172 An Introduction to the R.C.A. Synthesizer (1964) 178 The Structure and Function of Musical Theory (1965) 191 The Uses of Computers in Musicological Research (1965) 202 Edgard Varese: A Few Observations of His Music (1966) 213 Three Essays on Schoenberg (1968) 222 On Relata I (1970) 237 Contribution to "The Composer in Academia: Reflections on a Theme of Stravinsky" (1970) 259 Memorial for Matyas Seiber (1970) 263 Stravinsky Memorial (1971) 264 Contemporary Musical Composition and Musical Theory as Contemporary Intellectual History (1972) 270 Memorial for Stefan Wolpe (1972) 308 Since Schoenberg (1974) 310 Celebrative Speech for the Schoenberg Centennial (1976) 335 Responses: A First Approximation (1976) 341 Introduction to Marion Bauer, Twentieth Century Music (1978) 367 Foreword to David Epstein, Beyond Orpheus (1979) 371 Memorial for Ben Weber (1979) 377 Memorial for Robert Miller (1981) 380 The More than the Sounds of Music (1984) 383 I Remember Roger (1985) 388 "All the Things They Are": Comments on Kern (1985) 395 Memorial for Hans Keller (1986) 399 Stravinsky's Verticals and Schoenberg's Diagonal: A Twist of Fate (1987) 404 On Having Been and Still Being an American Composer (1989) 428 A Life of Learning (1991) 437 Brave New Worlds (1994) 459 My Vienna Triangle (1999) 466 Index 489
