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Author: Milton Babbitt Publisher: Princeton University Press ISBN: 0691155402 Category : Music Languages : en Pages : 531
Book 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.
Author: Milton Babbitt Publisher: Princeton University Press ISBN: 0691155402 Category : Music Languages : en Pages : 531
Book 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.
Author: Milton Babbitt Publisher: Univ of Wisconsin Press ISBN: 9780299107949 Category : Music Languages : en Pages : 220
Book Description
Many consider Pulitzer Prize-winning composer Milton Babbitt to be the preeminent figure in post-World War II American music. Beyond the extraordinary power of his music, he is also, as he says, "somewhat known as a talker." In fact, he is renowned as an energetic teacher and inspired lecturer. In 1983 at the University of Wisconsin-Madison, Babbitt presented a concise summary of his most essential musical insights in a series of lectures and seminars. These are gathered here, presenting for the first time in book form a comprehensive overview of the subjects that have formed the core of his teaching for the past forty years. Babbitt's central concern in these lectures is the twelve-tone tradition with which he is so closely identified. His discussion of this tradition ranges from close consideration of specific compositional problems to frank evaluation of his own position in that tradition. In his characteristically penetrating way, Babbitt discusses the most controversial issues in twentieth-century music, from serialism and atonality to the responsibility of the listener and the place of music in the university. Until now, few have had direct exposure to Babbitt's ideas. In Madison, he spoke to a variety of audiences and, because of the pedagogical context, his presentation was direct and explanatory. This volume preserves the dazzling constructions and spontaneous excitement of his spoken language. At the time of publication, Milton Babbitt was William Shubael Conant Professor of Music Emeritus at Princeton University. He has been showered with awards during his long and distinguished career, including the Pulitzer Prize (1982) and a prestigious MacArthur Fellowship (1986). He was a member of the National Institute of Arts and Letters and a Fellow of the American Academy of Arts and Sciences.
Author: Andrew Mead Publisher: Princeton University Press ISBN: 1400863333 Category : Music Languages : en Pages : 335
Book Description
In this celebration of Milton Babbitt's art, Andrew Mead explores the development of a central figure in contemporary American music. As a teacher and writer, Babbitt has influenced two generations of students, including such notable musicians as Stephen Sondheim and Donald Martino. He has helped establish the study of music theory as a serious academic pursuit, and his articles on Schoenberg, Stravinsky, and the twelve-tone system constitute a seminal body of research. But Babbitt is first and last a composer, whose works are, in Mead's words, "truly music to be heard." With Mead as a guide, we discover the strong emotional and expressive charge of Babbitt's music that is inextricably entwined with its structure. Babbitt is a twelve-tone composer, unabashedly so, and it is precisely his profound understanding of Arnold Schoenberg's epochal insight that gives Babbitt's music its special quality. By examining the underlying principles of twelve-tone composition, Mead allows us to appreciate Babbitt's music on its own terms, as a richly varied yet unified body of work. In achieving this purpose, he provides an excellent introduction to twelve-tone music in general. Without relying on professional jargon, he lucidly and succinctly explains Babbitt's complexities. A catalog of compositions, a discography, and a bibliography complete a book that will interest performers, music theorists, and music historians, as well as other readers who are enthusiastic or curious about contemporary musical works. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Robert Morris Publisher: University Rochester Press ISBN: 1580463495 Category : Music Languages : en Pages : 446
Book Description
A collection of essays on new music, composers, and issues in American music criticism and aestheticson by composer and music theorist Robert Morris. The Whistling Blackbird: Essays and Talks on New Music is the long-awaited book of essays from Robert Morris, the greatly admired composer and music theorist. In these essays, Morris presents a new and multifaceted view ofrecent developments in American music. His views on music, as well as his many compositions, defy easy classification, favoring instead a holistic, creative, and critical approach. The Whistling Blackbird contains fourteen essays and talks, divided into three parts, preceded by an "Overture" that portrays what it means to compose music in the United States today. Part 1 presents essays on American composers John Cage, Milton Babbitt, Richard Swift, and Stefan Wolpe. Part 2 comprises talks on Morris's music that illustrate his ideas and creative approaches over forty years of music composition, including his outdoor compositions, an ongoing project that began in 1999. Part 3 includes four essays in music criticism: on the relation of composition to ethnomusicology; on phenomenology and attention; on music theory at the millennium; and on issues in musical time. Threaded throughout this collection of essays are Morris's diverse and seemingly disparate interests and influences. English romantic poetry, mathematical combinatorics, group and set theory, hiking, Buddhist philosophy, Chinese and Japanese poetry and painting, jazz and nonwestern music, chaos theory, linguistics, and the American transcendental movement exist side by side in a fascinating and eclectic portrait of American musical composition at the dawn of the new millennium. Robert Morris is Professor of Music Composition at the Eastman School of Music, University of Rochester.
Author: Arnold Schoenberg Publisher: Univ of California Press ISBN: 9780520052949 Category : Biography & Autobiography Languages : en Pages : 564
Book Description
One of the most influential collections of music ever published, Style and Idea includes Schoenberg’s writings about himself and his music as well as studies of many other composers and reflections on art and society.
Author: John Rahn Publisher: W. W. Norton & Company ISBN: 9780393965087 Category : Music Languages : en Pages : 404
Book Description
The 30 lively and diverse essays brought together in this volume--all drawn from the journal PERSPECTIVE OF NEW MUSIC--suggest possible answers to the age-old question: Why does music affect us so strongly? The writers include many of the most prominent names in both modern music and aesthetic theory, including Pierre Boulez, John Cage, Iannis Xenakis, Eric Gans, Michel Foucault, and Delmore Schwartz.
Author: Miguel A. Roig-Francolí Publisher: Routledge ISBN: 1000332632 Category : Music Languages : en Pages : 432
Book Description
Understanding Post-Tonal Music is a student-centered textbook that explores the compositional and musical processes of twentieth-century post-tonal music. Intended for undergraduate or general graduate courses on the theory and analysis of twentieth-century music, this book will increase the accessibility of post-tonal music by providing students with tools for understanding pitch organization, rhythm and meter, form, texture, and aesthetics. By presenting the music first and then deriving the theory, Understanding Post-Tonal Music leads students to greater understanding and appreciation of this challenging and important repertoire. The updated second edition includes new "Explorations" features that guide students to engage with pieces through listening and a process of exploration, discovery, and discussion; a new chapter covering electronic, computer, and spectral musics; and additional coverage of music from the twenty-first century and recent trends. The text has been revised throughout to enhance clarity, both by streamlining the prose and by providing a visual format more accessible to the student.
Author: David Lewin Publisher: Oxford University Press ISBN: 0198040180 Category : Music Languages : en Pages : 423
Book Description
Throughout his career, David Lewin labored to make even the most abstract theory speak to the experience of the ordinary listener. This book combines many of Lewin's classic articles on song and opera with newly drafted chapters on songs of Brahms, Robert Schumann, Clara Schumann, and Milton Babbitt. Bound together by Lewin's cogent insight, the resulting collection constitutes a major statement concerning the methodological problems associated with interpretation of texted music.
Author: Dora A. Hanninen Publisher: University Rochester Press ISBN: 1580461948 Category : Music Languages : en Pages : 544
Book Description
This book introduces a theory of music analysis that one can use to explore aspects of segmentation and associative organization in a wide range of repertoire including Western classical music from the Baroque to the present, with potential applications to jazz and popular music, and some non-Western musics. Rather than a methodology, the theory provides analysts with precise language and a broad, flexible conceptual framework through which they can formulate and investigate questions of interest and develop their own interpretations of individual pieces and passages. The theory begins with a basic distinction among three domains of musical experience and discourse about it: the sonic (psychoacoustic); the contextual (or associative, sparked by varying degrees of repetition); and the structural (guided by a specific theory of musical structure or syntax invoked by the analyst). A comprehensive presentation of the theory, with copious musical illustrations, is balanced with close analyses of works by Beethoven, Debussy, Nancarrow, Riley, Feldman, and Morris. Dora A. Hanninen is professor of music theory at the University of Maryland. She received the 2010 Outstanding Publication Award from the Society for Music Theory.
Author: Milton Babbitt
Author: Milton Babbitt
Author: Milton Babbitt
Author: Richard Taruskin
Author: Andrew Mead
Author: Robert Morris
Author: Arnold Schoenberg
Author: John Rahn
Author: Miguel A. Roig-Francolí
Author: David Lewin
Author: Dora A. Hanninen