Affiliation:
1. University of Western Ontario
Abstract
The music of Milton Babbitt is often considered to be positivistic due to the color of his theoretical writings. Yet Babbitt's writings about music do not substitute for his actual musical works and, although the composer was mistrustful of aesthetic interpretation, his music has frequently been shown to support such criticism. Building upon past efforts by Mead and Lewin, I explore the hermeneutic and aesthetic value of what is arguably his most expressive work, the 1964 soprano and tape piece,Philomel.
Reference9 articles.
1. Babbitt, Milton. 1965. “The Structure and Function of Music Theory.”College Music Symposium5: 49–60. Reprinted in Boretz and Cone, eds. 1972.Perspectives on Contemporary Music. New York: Norton.
2. Babbitt, Milton. 1976. “Responses: A First Approximation.”Perspectives of New Music14, no. 1: 3–23.
3. Haimo, Ethan. 1984. “Isomorphic Partitioning and Schoenberg's Fourth String Quartet.”Journal of Music Theory28, no. 1: 47–72.
4. Hollander, John. 1967. “Notes on the Text of Philomel.”Perspectives of New Music6, no. 1: 134–141.
5. Hollander, John. 1981.The Figure of the Echo: A Mode of Allusion in Milton and After. Berkeley: University of California Press.
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