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The Collected Essays of Milton Babbitt
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Like his compositions, Milton Babbitt's writings about music have exerted an extraordinary influence on postwar music and thinking about music. In essays and public addresses spanning fifty years, Babbitt has grappled profoundly with central questions in the composition and apprehension of music. These writings range from personal memoirs and critical reviews to closely reasoned metatheoretical speculations and technical exegesis. In the history of music theory, there has been only a small handful of figures who have produced work of comparable stature. Taken as a whole, Babbitt's writings are not only an invaluable testimony to his thinking - a priceless primary source for the intellectual and cultural history of the second half of the twentieth century - but also a remarkable achievement in their own right. Prior to this collection, Babbitt's writings were scattered through a wide variety of journals, books, and magazines - many hard to find and some unavailable - and often contained typographical errors and editorial corruptions of various kinds. This volume of almost fifty pieces gathers, corrects, and annotates virtually everything of significance that Babbitt has written. The result is complete, authoritative, and fully accessible - the definitive source of Babbitt's influential ideas.
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A car won't run unless it's engineered correctly, and the same applies to a piece of music. And Babbit always insists that the whole point of structure in music is that it can be heard: you may have to listen at full stretch, but it will be worth it. Rather like this book--difficult stuff, but intellectually rigorous and undeniably honest. -- Martin Cotton BBC Music Magazine It's the book's role as an encapsulation of Babbitt's formalistic way of thinking about music which matters, and this is rendered suitably ambiguous by an intriguing disparity in the types of essay included. These veer between the extremes of the coolly technical and the warmly biographical (and autobiographical). We might not get Babbitt's views on what compositions represent in terms of emotion or feeling, but there is plenty of vivid characterization when it comes to people and places. -- Arnold Whittall Musical Times Milton Babbitt's musical world is not a simple one... That's also true of Babbitt's written output... But it's witty too, as you'd expect from the composer of such titles as Joy Of Sextets. -- Andy Hamilton The Wire Milton Babbitt, at eighty-nine, has been handsomely, if belatedly, served by this collection of forty-three essays testifying to his seminal presence in musical history... Overall the enterprise is a fine assemblage of scattered writings which will surprise even aficionados by its range. -- Jonathan Harvey Times Literary Supplement
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The recent performance of the String Quartets of Bela Bartok by the Juilliard String Quartet served, by virtue of the stylistic unity of the presentation and the fortuity of nonchronological programming, to emphasize above all the homogeneity and consistent single-mindedness of Bartok's achievement in his works for this medium. 最初のページを読む
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The recent performance of the String Quartets of Bela Bartok by the Juilliard String Quartet served, by virtue of the stylistic unity of the presentation and the fortuity of nonchronological programming, to emphasize above all the homogeneity and consistent single-mindedness of Bartok's achievement in his works for this medium. 最初のページを読む
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5つ星のうち 5.0
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2 人中、2人の方が、｢このレビューが参考になった｣と投票しています。
5つ星のうち 5.0
Give Babbitt a chance!
2007/7/22
By Steward Willons
- (Amazon.com)
形式:ハードカバー
Babbitt always inspires debate, especially amongst musicians and theorists: is he a bold radical, is his music sterile, is he the future, is he ruining music? Who can say? Ultimately, you'll need to make up your own mind and what better way to do that then with this handsome edition! I've read six or seven thus far and have formed the basis for a number of conclusions.
I believe Babbitt was a brilliant theorist and his work with pitch class theory was seminal in developing serial music. However, his music seems to lack something when I listen to it. It's mathematically complex, formally advanced, and fascinating to analyze; but it doesn't seem to have the passion of Berg or the beautiful mixture of formal perfection and expressive texture of Webern. While I don't particularly "enjoy" his music, I completely respect his ideas and I know music has benefitted from his work.
The only reason for the digression on my take on Babbitt is because I formed this opinions reading his work and listening to his music. I would encourage everyone who his passionate about 20th century music to give Babbitt a chance: read what he has to say about music - it's profound. If you don't like his music, simply consider his ideas and you will see how they are at work in many current composers.
Before I wrap this up, a few words on his style: Babbitt's prose is unwieldy to say the least - half page sentences, needlessly complex sentence structures, awkward wordings, it's all here. I've read widely in aesthetics, philosophy, and musicology and one can quickly tell when a complex style is necessary (Lacan or Deleuze) and when it's the fault of the writer (Hegel never claimed to be a good writer!). Perhaps Babbitt is, at times, being deliberately obscure, but I feel that he simply isn't the greatest at explaining ideas in a way that leads to understanding. There were so many instances where a paragraph could be half the size while still conveying the same meaning - it's actually that bad. Oh well - maybe this is part of the fun. It definitely WAS amusing at times and in all honesty, it's not all THAT hard to understand - just harder than it needs to be.
In short, this is a very welcome collection and it belongs on the shelf of any 20th century theorists or musicologist. You'll enjoy it.
I believe Babbitt was a brilliant theorist and his work with pitch class theory was seminal in developing serial music. However, his music seems to lack something when I listen to it. It's mathematically complex, formally advanced, and fascinating to analyze; but it doesn't seem to have the passion of Berg or the beautiful mixture of formal perfection and expressive texture of Webern. While I don't particularly "enjoy" his music, I completely respect his ideas and I know music has benefitted from his work.
The only reason for the digression on my take on Babbitt is because I formed this opinions reading his work and listening to his music. I would encourage everyone who his passionate about 20th century music to give Babbitt a chance: read what he has to say about music - it's profound. If you don't like his music, simply consider his ideas and you will see how they are at work in many current composers.
Before I wrap this up, a few words on his style: Babbitt's prose is unwieldy to say the least - half page sentences, needlessly complex sentence structures, awkward wordings, it's all here. I've read widely in aesthetics, philosophy, and musicology and one can quickly tell when a complex style is necessary (Lacan or Deleuze) and when it's the fault of the writer (Hegel never claimed to be a good writer!). Perhaps Babbitt is, at times, being deliberately obscure, but I feel that he simply isn't the greatest at explaining ideas in a way that leads to understanding. There were so many instances where a paragraph could be half the size while still conveying the same meaning - it's actually that bad. Oh well - maybe this is part of the fun. It definitely WAS amusing at times and in all honesty, it's not all THAT hard to understand - just harder than it needs to be.
In short, this is a very welcome collection and it belongs on the shelf of any 20th century theorists or musicologist. You'll enjoy it.
5つ星のうち 5.0
A MOST IMPORTANT TOME!!!
2007/10/12
By Mark J. St Hilaire
- (Amazon.com)
形式:ハードカバー
No serious student or devotee of music should be lacking a copy of this book in their collection! This is one of the most important collections of writings on serious music to date, alongside George Perle's THE RIGHT NOTES and Elliott Carter's COLLECTED ESSAYS & LECTURES, 1937-1995. The annotations by two leading Babbitt scholars are first rate, as Babbitt's thought provoking insights reveal an extraordinary musical intellect at work, corroborating once again his status as one of the most important musical figures of our time with just that right combination of heart and brain. Just one caveat, though: I only wish the book had included Babbitt's doctoral dissertation THE FUNCTION OF SET STRUCTURE IN THE TWELVE-TONE SYSTEM, written in 1946 but not published until 1992. Though this seminal work is gratefully available from UMI, the print is very hard to make out. Including this 1946 classic text fully annotated into the main body of this new book would have made it the ultimate 'perfect book'.
2 人中、1人の方が、｢このレビューが参考になった｣と投票しています。
5つ星のうち 5.0
Collected Essays of Milton Babbitt
2008/10/20
By Mark J. Zanter
- (Amazon.com)
形式:ハードカバー|Amazon.co.jpで購入済み
Great resource--all of Babbitt's essays in a single source. Includes early writings published before the seminal works on serialism. Must have.
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