Milton Babbitt Who Cares if you Listen

March 23, 2018 | Author: reallyanonymous | Category: Performing Arts, Entertainment, Elements Of Music, Sound, Pop Culture
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Foy'r'th." an individuall' coherent structure..'h. the structural characteristics of a given... ioncerned with t]re .ffi..redundancy. A popular song is only very partiaily determined. it does make possible a greatly increased number of pitch simuitaneities.nr to retain its germane characteristics under considerable alteration or r.-." "unintelligibility.rrse of the work than to be derived from generalized assumptions.grri.hythmic texture. That is.em". .'j by each of the other components.ivork are less representative of a general class of characteristics than they are unique to the individual work itself. likery to evolve i'n the .or.perfor-"rr. Inability to perceive arrd . and relationships' This increase in efficiency necessirily reduces the .o. is ini he lt \\'oi pin: call and mus repc popi pror.ation of-the work d.. single event. rncidentally. Along with this increase of meaningful pitch materiars. dyrr"-i. . . and timbre. rr1or. so creating incorrecr pitch." perhaps . Lr tbr aff.. _ort genelal of these properties. and as a... d)rnamics. The reader is at riberty to supply his own instances. This ir.. but. the number of ^ functions associated with each component of the musical event also has been multiplied' In the simplest possible tenns. and finally..r"n.". register.n .o--.yrie-atic for-. than that of the music of the past. derived from a considered and extensive knowredge of their dynamic principles.nt. frequently in parallel with the . In indicatirrg th.r. I shalr make . ^r.. timbre.riJ-'"pp. harmonic structure. and-thus-a falsification of the composition's total structure. but " successions. and other qualities. a popular song.result the intelligibl.."ibr. It is this frigil J. among many others.li il'. each such . for example. makes ever heavier demands upon the training of the-listener..ro . particularly.s dynamic patternl but also in false identification ofother componenrsof rhe evenr (ofwhich this dynamic value is a part) with corresponding .o-porr. registral. the very minimal properties characterizing this b. in itserf. compositions F{ \-e.ifi.s musical space' an alteration ofits relation to all other events in the work. For example.dy of music are the sources of its "difficulty.rr. it capacities. (the listener). More importantly for us.new. an incorrectly performect or perceived dynamic value results in destruction of the work.gr..s perceptual seconel. economy and understanding.rtntro' of such principles to the end of greater efficiency.. duration. a\\'arc il'itho fronte .. has been the development of analy'ticar thiory... For.. musics.atomic.rnber precisery the values of any of these components results in a dislocation of the event in the work."rporrairr.determinacy" that most strikingiy differentiates such music from. since I wish to avoid the independent issue of evaruarion... of other events..482 The Twenrieth Century sophisticated and complex constructive methods of any one composition.ir ^ often also represents a vast extension of ihe methods of oih.n int. it is this circumstance.. and duratitnal aisociations.rr... Frere again greater and neridemands are made upon the peiceptual and co'ceptual abilities of the listener. or its derivatives. concomitant with the "revolution in music. *ort r. timbral. e'ent is located in a fivedimensional musical space determined by pitch-class. Tbirel" Musical compositions of the kind under discussion possess a high degree oi contextuality and autonomy...o .p". of the language. conc a-eair lr-oui pubii a r-ict I ntusi.o. of . since it *o."....rot rr.*. First' This music employs a tonal vocabulary which is more . These five components not only together a. in the course of a work. principles of reratedness. upon which depends immediate coherence of continuity. Although in many fundamintal respects this music is .. r" :iqaorol'd aql ueq't passed seq ppor uorltredald pnads lnoqll^e t'n* pt'n"lpa-1e'lt '(lpurou uE Jo eluoplle ..tur sI prepuels ..o..aqlSurtrrru.r*.{\ pu? 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"'ot"'.\\ erl pue .es1e Surqlou paumsse srq ur arrlsnfut ue 'rasodtuor eq] 3r '.rnq. . same well-meaning ro the io_pnr. resolute.' while the public's obligadon before or concert hall . o.r." apParently on the theory souls.t"ilo. Aua f ii be contenied that such research rvith' for example' the the past it has yielded eventual applicatiols. ... justif. u.r Babbitt.o-pl"r.-r". who remind the .obligucorr'ro the public.o-por.. . I'r'ill be little distr. substantial means of survival for the music I have been the whistiing repertory of the man in the street will be litde music is not supported. .rrbed."a extcnt tnuf it *". the differences among their nature." and .in scientific research.o obscure the obvious differences between musical that these differences composition and scholarly r"r"".38-40.rrary is so supported because.oided by a major record company' primarily-I hi.t of the public and social aspects of musical composition' survival for the of But hou. thore... although it can be contended the various fields of study' I do are no more ftindamer-rt"l thar-. in cease to live .tna n . Birt music wiil cease to evolve.ot-ttpicuous consumer that important sense.rf hi. picture ofvirtuous music in a sinful world.h.. more secure against .nd so.r. is fulfillecl. with its very real possibility of complete I say all this not to present a private performance and ill*i. music of Anton webern. some dozen years have b.tltn. 126-27 ' Allrigll'' Babbitt." fessional training una g. and.".Who Cares Ifyou Listcnf lc:erued. . *i"rif"rtly. today.**. by mere physical presence in the a loudspeaker."ff. even in its least "practical" phases.f fml. one can counter lifetime was regarded (to th...rut education. Miltor. musical world... th" po"rition acctrded other arts and sciences Admittedly. but to point world. knowledge particular realm.i at all) as the ultimate inthe composer's death' after and idiosyncratic composition. Itcprintcd bl pcrrnission' " Higb Fidetitl. I doubt that scientific research is arry if it be conpr"al.o_por"..'ditncult.on-popol"r.. A.sarsumentsaremethead-onbyCeorgeRochberginaspeechdeliveredin hermeticism is 1g71.lt is lignificant that this impassioned rejection of "scientific" . should ptnuid. the process has begun' I do not *i. if this describing.YIII (February f 95B). Immediate "practical" in "immediate^ extensibility of a i*fri.. works the postwar' a result of the enormous influence this music has had on . . what possibly ca[contribute more to our knowledge in the of music than a genuinely original composition? promises the-sole Granting to r..'rrri.rtio.d music in an alien and inapposite " his music an immediate and eventual suggest that the .rp.problJmadcal" in music' Indeed. specialized. would do himself and from this public world to one of service by total. it may be asked..o-". by applicabiliq' opment of assisrance granted these other fields. . the denial to music's devell. which during rhe composer's hermetic. I dare up the problems of ife. of musical culturc u'ill affected. whether these differences.en . . acceptance. to the sum of contributes tended that rcsearch.484 Listen lhc Tu'cntieth Century that familiarity breeds to more contemporary music. and voluntary withdrawal eiectronic media.n may be said tl have its musical analogue condition for the support of compositional technique") is certainly . of ultimate significance than is musical composition' Finally.eg"rd.. will this sen/e to secure the means one answer is that after all such a private life is what the composer and his musicf proper that the university' orriuirsity providcs the scholar and the scientist' It is only with their prowhich-sijnificantly-has provided so mal-ly contemporary composers a home for the "complex. the concert-going activity oith. ofte' th..n t". 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