Rethinking Babbitt’s ‘Serious’ Music as Play

References

• Afshar, Lily. 1999. “Newdance.” Review of a recording by David Starobin. American Record Guide 62 (1): 223. 1/4p.
   Google Scholar
• Babbitt, M. 1986. Interview by Ev Grimes. OHV 105e, Major Figures in American Music Collection, Oral History of American Music, Yale University Archives.
   Google Scholar
• Babbitt, M. 1987a. “Composer Milton Babbitt: A Conversation with Bruce Duffie.” Interview by Bruce Duffie. Chicago, IL. http://www.bruceduffie.com/babbitt.html
   Google Scholar
• Babbitt, M. 1987b. “The Unlikely Survival of Serious Music.” In Words About Music, edited by S. Dembski, and J. N. Straus, 163–186. Madison, WI: University of Wisconsin Press.
   Google Scholar
• Babbitt, M. 2003a. “The Composer as Specialist.” In The Collected Essays of Milton Babbitt, edited by Stephen Peles with Stephen Dembski, Andrew Mead, Joseph N. Straus, 48–54. Princeton, NJ: Princeton University Press.
   Google Scholar
• Babbitt, M. 2003b. “Contemporary Music Composition and Musical Theory as Contemporary Intellectual History.” In The Collected Essays of Milton Babbitt, edited by Stephen Peles with Stephen Dembski, Andrew Mead, Joseph N. Straus, 270–307. Princeton, NJ: Princeton University Press.
   Google Scholar
• Bakhtin, M. 1984. Problems of Dostoevsky’s Poetics. Translated and edited by Caryl Emerson. Minneapolis, MN: University of Minnesota.
   Google Scholar
• Bakhtin, M. 1991. The Dialogic Imagination: Four Essays by M.M. Bakhtin. Translated by Caryl Merson and Michael Holquist. Edited by Michael Holquist. Austin, TX: University of Texas Press.
   Google Scholar
• Barthes, R. 1977. Image, Music, Text. Translated by Stephen Heath. New York, NY: Hill and Wang.
   Google Scholar
• Bernstein, Z. 2021a. Thinking in and About Music: Analytical Reflections on Milton Babbitt’s Music and Thought. New York, NY: Oxford University Press.
   Google Scholar
• Bernstein, Z. 2021b. “Hearing Compositional Play in Babbitt's Arrays.” Contemporary Music Review. doi:https://doi.org/10.1080/07494467.2021.1993635.
   Google Scholar
• Berry, D. C. 2016. “Schenkerian Analysis and Anglo-American Music Criticism in the 1930s: A Quest for ‘Objectivity’ and a Path Toward Disciplinary Music Theory.” Theory and Practice 41: 141–205.
   Google Scholar
• Bertens, H. 1995. The Idea of the Postmodern: A History. London: Routledge.
   Google Scholar
• Caillois, R. (1958) 2001. Man, Play, and Games. Translated by Meyer Barash. Urbana, IL: University of Illinois Press.
   Google Scholar
• Cheung, A. 2013. “Play Ball!’ Program notes for Games, a concert by the Talea Ensemble, Seattle, WA, April 10. http://taleaensemble.org/play-ball/
   Google Scholar
• Crutchfield, W. 1986. “Recital: Alan Feinberg.” Review of a concert by Alan Feinberg. New York Times, April 2. http://www.nytimes.com/1986/04/03/arts/recital-alan-feinberg.html
   Google Scholar
• Derrida, J. 1978. Writing and Difference. Translated by Alan Bass. Chicago, IL: University of Chicago Press.
   Google Scholar
• Dyer, R. 1976. “A Tribute to Milton Babbitt.” Review of a commemorative concert produced by the Fromm Foundation. Boston Globe, April 27.
   Google Scholar
• Dyer, R. 1987. Dazzling “Groupwise.” Review of a concert by Collage, conducted by Gunther Schuller. Boston Globe, February 25.
   Google Scholar
• Edwards, B. 1998. Theories of Play and Postmodern Fiction. New York, NY: Garland Publishing.
   Google Scholar
• Fine, E. 2002. “Milton Babbitt.” In Classical Music: The Listener’s Companion, edited by Alexander J. Morin, 19–20. San Francisco, CA: Backbeat Books.
   Google Scholar
• Gadamer, H.-G. 2004. Truth and Method. 2nd revised ed., Translated by Joel Weinsheimer and Donald G. Marshall. New York, NY: Bloomsburg Continuum.
   Google Scholar
• Guldbrandsen, E.and J. Johnson, eds. 2015. Transformations of Musical Modernism. Cambridge: Cambridge University Press.
   Google Scholar
• Hassan, I. 1981. “The Question of Postmodernism.” Performing Arts Journal 6 (1): 30–37.
   Google Scholar
• Hassan, I. 1987. The Postmodern Turn: Essays in Postmodern Theory and Culture. Columbus, OH: Ohio State University Press.
   Google Scholar
• Holland, B. 1998. “Island of Mystery in Uncharted Seas.” Review of a concert by the Met Orchestra under James Levine. New York Times, November 17. http://www.nytimes.com/1998/11/17/arts/music-review-island-of-mystery-in-uncharted-seas.html
   Google Scholar
• Hollander, J. 2014. Letter to Elliott Carter [May 5, 1986]. In “Selected Correspondence.” Chicago Review 58(3/4): 154–160.
   Google Scholar
• Horton, J. 2001. “Postmodernism and the Critique of Musical Analysis.” The Musical Quarterly 85 (2): 342–366.
   Web of Science ®Google Scholar
• Hubbs, N. 1991. “Schenker’s Organicism.” Theory and Practice 16: 143–162.
   Google Scholar
• Huizinga, J. 1949. Homo Ludens: A Study of the Play-Element in Culture. 2nd ed. London: Routledge & Kegan Paul.
   Google Scholar
• Kramer, Jonathan. 2016. Postmodern Music, Postmodern Listening. New York, NY: Bloomsbury Publishing.
   Google Scholar
• Lakoff, G., and M. Johnson. 1980. Metaphors We Live By. Chicago, IL: University of Chicago Press.
   Google Scholar
• Le Guin, E. 2006. Boccherini’s Body: An Essay in Carnal Musicology. Berkeley, CA: University of California Press.
   Google Scholar
• Maggart, A. 2017. “Referential Play in ‘Serious' Music: Allusions to the Past in Several of Milton Babbitt’s Works from the Late 1980s.” PhD diss., University of Southern California.
   Google Scholar
• Maggart, A. 2020. “Some Surface-Level ‘Spurious Associations’ Between Milton Babbitt’s Whirled Series and Baseball.” Perspectives of New Music 58 (2): 157–214.
   Google Scholar
• Maggart, A. 2021. “Poetic Allusions in Milton Babbitt’s Music.” Paper presented at the annual meeting of the Society for American Music, Tacoma, WA / virtual, June 9–12.
   Google Scholar
• Mailman, J. B. 2012. “Seven Metaphors for (Music) Listening: DRAMaTIC.” Journal of Sonic Studies 2 (1), https://www.researchcatalogue.net/view/261722/261723
   Google Scholar
• Mailman, J. B. 2019. “Babbitt’s Beguiling Surfaces, Improvised Inside.” Society for Music Theory Videocast Journal. Originally presented as a paper at the Annual Joint Meeting of the Society for Music Theory and American Musicological Society, Vancouver, B.C., November 3–6, 2016. doi:https://doi.org/10.30535/smtv.5.1.
   Google Scholar
• Mailman, J. B. 2020. “Portmantonality and Babbitt’s Poetics of Double Entendre.” Music Theory Online 26 (2), https://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.mailman.html
   Web of Science ®Google Scholar
• Mangan, T. 1995. “Southwest Chamber Group Offers New Babbitt Works.” Review of a concert by the Southwest Chamber Music Society. Los Angeles Times, January 31. http://articles.latimes.com/1995-01-31/entertainment/ca-26254_1_music-babbitt-works
   Google Scholar
• Maus, F. 1993. “Masculine Discourse in Music Theory.” Perspectives of New Music 31 (2): 264–293.
   Web of Science ®Google Scholar
• McClary, S. 1989. “Terminal Prestige: The Case of Avant-Garde Music Composition.” Cultural Critique 12, Discursive Strategies and the Economy of Prestige: 57–81.
   Web of Science ®Google Scholar
• Mead, A. 1983. “Detail and Array in Milton Babbitt’s ‘My Complements to Roger’.” Music Theory Spectrum 5: 89–109.
   Web of Science ®Google Scholar
• Mead, A. 1987. “About About Time’s Time: A Survey of Milton Babbitt’s Recent Rhythmic Practice.” Perspectives of New Music 25 (1/2): 182–235.
   Google Scholar
• Mead, A. 1994. An Introduction to the Music of Milton Babbitt. Princeton, NJ: Princeton University Press.
   Google Scholar
• Mead, A. 1997. “Still Being an American Composer: Milton Babbitt at Eighty.” Perspectives of New Music 35 (2): 101–126.
   Google Scholar
• Mead, A. 1999. “Bodily Hearing: Physiological Metaphors and Musical Understanding.” Journal of Music Theory 43 (1): 1–19.
   Web of Science ®Google Scholar
• Mead, A. (2000) 2001. “The “Sweet Spot”: What Composing Has Taught Me About Teaching Theory.” Intégral 14/15: 48–56.
   Google Scholar
• Mead, A. 2012. “‘All the Things He Was’: Remembering Milton Babbitt.” Music Theory Spectrum 34 (1): 17–18. doi:https://doi.org/10.1525/mts.2012.34.1.17.
   Web of Science ®Google Scholar
• Mead, A. 2016. “Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt’s Music.” Paper presented at the annual joint meeting of the Society for Music Theory and American Musicological Society, Vancouver, B.C., November 3–6.
   Google Scholar
• Mead, A. 2021. “Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt's Music.” Contemporary Music Review 40 (2–3). doi:https://doi.org/10.1080/07494467.2021.1991670.
   Google Scholar
• “Milton Babbitt Assessed.” 2011. Gramophone. http://www.gramophone.co.uk/features/focus/milton-babbitt-assessed
   Google Scholar
• Moseley, R. 2016. Keys to Play: Music as a Ludic Medium from Apollo to Nintendo. Oakland, CA: University of California Press.
   Google Scholar
• Motte, W. 1995. Playtexts: Ludics in Contemporary Literature. Lincoln, NE: University of Nebraska Press.
   Google Scholar
• Nielsen, C. 2021. “Gadamer on Play and the Play of Art.” In The Gadamerian Mind, edited by Theodore George, and Gert-Jan van der Heiden, 139–154. London: Routledge.
   Google Scholar
• Page, T. 1982. “Music: League of Composers Offers Electronic Concert.” Review of a concert by the League of Composers—I.S.C.M. New York Times, December 13. http://www.nytimes.com/1982/12/13/arts/music-league-of-composers-offers-electronic-concert.html
   Google Scholar
• Page, T. 1985. “Music: Noted in Brief; Speculum Musciae Plays Milton Babbitt.” Review of a concert by Speculum Musicae. New York Times, February 4.
   Google Scholar
• Page, T. 1998. “Music for Thought: A Babbitt Symposium.” The Washington Post, May 1.
   Google Scholar
• Pearse, Liz, and Tony Arnold. 2021. “Breaking Babb: Discovery and Process in Learning Babbitt's Philomel: A Conversation Between a Rock Star and a Screecher.” Contemporary Music Review 40 (2–3). doi:https://doi.org/10.1080/07494467.2021.1988382.
   Google Scholar
• Robin, W. 2016. “Making Milton Babbitt’s Legacy Less Fearsome.” New York Times, January 13. https://www.nytimes.com/2016/01/17/arts/music/making-milton-babbitts-legacy-less-fearsome.html
   Google Scholar
• Ross, A. 1996. “Milton Babbitt’s Clarinet Quintet.” Review of a concert by the Juilliard Quartet. New York Times, October 16. http://www.therestisnoise.com/2008/01/milton-babbitts.html.
   Google Scholar
• Schubert, P. N. 1994. “A Multidetermined Moment in Milton Babbitt’s ‘Three Cultivated Choruses’.” Theory and Practice 19: 57–82.
   Google Scholar
• Schwartz, S. 1997. “The Postmodernity of Modernism.” In The Future of Modernism, edited by Hugh Witemeyer, 9–31. Ann Arbor, MI: University of Michigan Press.
   Google Scholar
• Scotto, C. 1988. “Preparing a Performance of Babbitt’s Arie da Capo.” Perspectives of New Music 26 (2): 6–24. doi:https://doi.org/10.2307/833180.
   Google Scholar
• Sellars, J. E. 1977. “Music: Virtuosic Challenges.” Review of the CD New Music for Virtuosos, released by New World Records. The Hartford Courant, November 27.
   Google Scholar
• Service, T. 2010. “Happy 94th Birthday, Milton Babbitt.” The Guardian, May 12. https://www.theguardian.com/music/tomserviceblog/2010/may/12/milton-babbitt-94th-birthday-tribute
   Google Scholar
• Smith, K. 2011a. “How I Learned to Love Milton Babbitt.” Broad Street Review. https://www.broadstreetreview.com/articles/how-i-learned-to-love-milton-babbitt
   Google Scholar
• Smith, S. 2011b. “The Max, or, the Milton Babbitt Hook.” Hooks (blog). https://hooksanalysis.wordpress.com/2011/02/01/the-max-or-the-milton-babbitt-hook/
   Google Scholar
• Smooke, D. 2011. “Further Thoughts on Milton Babbitt.” New Music Box, February 1. http://www.newmusicbox.org/articles/Further-Thoughts-on-Milton-Babbitt/
   Google Scholar
• Solie, R. A. 1980. “The Living Work: Organicism and Musical Analysis.” 19th-Century Music 4 (2): 147–156.
   Web of Science ®Google Scholar
• Spariosu, M. 1989. Dionysus Reborn: Play and the Aesthetic Dimension in Modern Philosophical and Scientific Discourse. Ithaca, NY: Cornell University Press.
   Google Scholar
• Strauss, E. 2011. “Portrait of a Modern Composer.” U.S. 1, June 1. http://www.princetoninfo.com/index.php/component/us1more/?key=06-01-2011Babbitt
   Google Scholar
• Sutton-Smith, B. 2001. The Ambiguity of Play. Cambridge, MA: Harvard University Press.
   Google Scholar
• Tommasini, Anthony. 2016. “After 40 Years, a Lost Work is Finished and Performed.” New York Times, January 26.
   Google Scholar
• Vilhauer, M. 2009. “Beyond the ‘Fusion of Horizons’: Gadamer’s Notion of Understanding as ‘Play’.” Philosophy Today 53 (4): 359–364. http://www.monicavilhauer.com/uploads/5/0/3/8/50382637/beyond_fusion.pdf
   Web of Science ®Google Scholar
• Vilhauer, M. 2010. Gadamer’s Ethics of Play: Hermeneutics and the Other. Lanham, MD: Lexington Books.
   Google Scholar
• Vilhauer, M. 2013. “Gadamer and the Game of Understanding: Dialogue-Play and Opening to the Other.” In The Philosophy of Play, edited by Emily Ryall, Wendy Russell, and Malcolm MacLean, 75–86. London: Routledge.
   Google Scholar
• Waters, B. 2000. “Milton Babbitt’s Sparkling ‘Vision’.” Review of a concert by the Theater Chamber Players. The Washington Post, January 26.
   Google Scholar
• Westerhaus, J. 2012. “Stravinsky and the Ludic Metaphor.” PhD diss., University of Chicago.
   Google Scholar