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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.

Twelve-tone system. --- MUSIC / History & Criticism. --- Dodecaphonic system --- Twelve-note composition --- Twelve-note system --- Twelve-tone technique --- Serialism (Music) --- Babbitt, Milton, --- Criticism and interpretation.

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Twelve-tone system. --- Dodécaphonisme --- 159.9:7 --- Twelve-tone system --- Dodecaphonic system --- Twelve-note composition --- Twelve-note system --- Twelve-tone technique --- Serialism (Music) --- Psychologie van de kunst --- 159.9:7 Psychologie van de kunst --- Dodécaphonisme

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Jack Boss takes a unique approach to analyzing Arnold Schoenberg's twelve-tone music, adapting the composer's notion of a 'musical idea' - problem, elaboration, solution - as a framework and focusing on the large-scale coherence of the whole piece. The book begins by defining 'musical idea' as a large, overarching process involving conflict between musical elements or situations, elaboration of that conflict, and resolution, and examines how such conflicts often involve symmetrical pitch and interval shapes that are obscured in some way. Containing close analytical readings of a large number of Schoenberg's key twelve-tone works, including Moses und Aron, the Suite for Piano Op. 25, the Fourth Quartet, and the String Trio, the study provides the reader with a clearer understanding of this still-controversial, challenging, but vitally important modernist composer.

Twelve-tone system. --- Dodecaphonic system --- Twelve-note composition --- Twelve-note system --- Twelve-tone technique --- Serialism (Music) --- Schoenberg, Arnold, --- Shenberg, Arnolʹd, --- Schönberg, Arnold, --- Schenberg, A. --- Shenberg, A. --- שנברג, ארנולד --- Criticism and interpretation. --- Schönberg, Arnold

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Twelve-tone system --- Dodecaphonic system --- Twelve-note composition --- Twelve-note system --- Twelve-tone technique --- Serialism (Music) --- Webern, Anton --- -Criticism and interpretation --- -Von Webern, Anton --- Criticism and interpretation --- Webern, Anton, --- Webern, Anton von, --- Von Webern, Anton, --- Vebern, Anton, --- Vebern, A. --- Webern, Anton Friedrich Wilhelm von, --- Criticism and interpretation. --- Webern, Anton von

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This important new study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition adopted by Anton Webern had profound consequences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed analyses, however, Professor Bailey demonstrates a fundamentally traditional aspect to Webern's creativity, when describing his own music. Professor Bailey analyses all Webern's twelve-note works (from Op. 17 to Op. 31) i.e. the instrumental and vocal music written between 1924 and 1943. These analyses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include transcriptions of little-known drafts and sketches. A most valuable aspect of the book is the inclusion in appendices of such materials as a complete explanation of the row content of each work, the correct prime form of each of the rows from Op. 20 onwards, with a matrix constructed for each, and exhaustive row analyses.

Twelve-tone system. --- Dodécaphonisme --- Webern, Anton, --- Criticism and interpretation. --- Twelve-tone system --- Dodecaphonic system --- Twelve-note composition --- Twelve-note system --- Twelve-tone technique --- Serialism (Music) --- Webern, Anton --- -Criticism and interpretation --- -Von Webern, Anton --- Criticism and interpretation --- Dodécaphonisme --- Von Webern, Anton --- 78.21.1 Webern --- Webern, Anton von, --- Von Webern, Anton, --- Vebern, Anton, --- Vebern, A. --- Webern, Anton Friedrich Wilhelm von,