Duplicated Subdivisions in Babbitt’sIt Takes Twelve to Tango-Reference-Cited by-同舟云学术

Duplicated Subdivisions in Babbitt’sIt Takes Twelve to Tango

Published:2011-07 Issue:2 Volume:17 Page:
ISSN:1067-3040
Container-title:Music Theory Online
language:en
Short-container-title:MTO

Author:

Bernstein Zachary¹

Affiliation:

1. The Graduate Center, City University of New York

Abstract

It Takes Twelve to Tango(1984) has a subdivision series that unfolds in two dimensions: globally in the first beat of the 2/4 meter, and locally in the second beat. Though the eight subdivision series expressed in the second beat mostly proceed at the rate of one subdivision per measure, occasionally a subdivision will be repeated in two consecutive measures. Attempts to interpret these duplicated subdivisions reveal intersections between the subdivision series and a wide variety of other aspects of the piece, including the pitch-class array, hypermeter, and registral gestures. These non-systematic explanations lead to a meditation on the meaning and power of the systematic aspects of Babbitt’s music.

Publisher

Society for Music Theory

Subject

Music

Reference11 articles.

1. Babbitt, Milton. 1962. “Twelve-Tone Rhythmic Structure and the Electronic Medium.”Perspectives of New Music1, no. 1: 49–79.

2. Baruch, Frances and Failey, Jan. “Habanera.” InGrove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/12116 (accessed May 26, 2011).

3. Dubiel, Joseph. 1992. “Three Essays on Milton Babbitt (Part Three).”Perspectives of New Music31, no. 1: 82–131.

4. Dubiel, Joseph. 1997. “What’s the Use of the Twelve-Tone System?”Perspectives of New Music35, no. 2: 33–51.

5. Hanninen, Dora A. 1996. “A General Theory for Context-Sensitive Music Analysis: Applications to Four Works for Piano by Contemporary American Composers.” PhD diss., The University of Rochester, Eastman School of Music.

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