Thinking In and About Music: Analytical Reflections on Milton Babbitt's Music and Thought
- Author: Bernstein, Zachary
Book
$127.25Out of stock at the UK distributor
Contents
- Preface
- Acknowledgments
- Permissions
- About the companion website
- Chapter 1 On Milton Babbitt, Schenkerian
- Introduction
- Goethe, Schenker, and Hierarchical Organicism
- Babbitt and Schenker
- The Implications of the Series
- Analepsis and Prolepsis
- Conclusion
- Chapter 2 Construction, Cognition, and the Role of the Surface
- A Way into Emblems
- Rudolf Carnap and Phenomenalistic Construction
- George 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
- Chapter 3 The Seam in Babbitt's Compositional Development: Composition for Tenor and Six Instruments
- 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
- Chapter 4 The Surface and the Series in Composition for Four Instruments
- Chapter 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
- Chapter 6 Completeness and Temporality
- Introduction
- Over-, Under-, and Multiple Completeness
- Signals and Verticality
- Conclusion: Sounds of Relations
- Chapter 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
- Afterword: Anything Vital is Problematical
- Glossary
- References