The Post-1945 Music Analysis Interest Group is a discursive space for scholars of music after 1945, with an emphasis on the modernist, experimental, and avant-garde. Through its annual meetings and online communications, the group aims to strengthen, support, and develop its members’ ideas and sense of community. It also seeks to bring attention to and foster scholarship on post-1945 music both within the Society for Music Theory and in music scholarship at large.
Publication announcement: Playing (with) Babbitt in the 21st Century
3 years, 10 months ago-
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The whole enchilada is out of the oven now: We guest co-editors, Joshua Banks Mailman, Andrew Mead, and Zachary Bernstein, are pleased to announce a publication that celebrates a shining example of artistic creative agency, in the past and present:
Playing (with) Babbitt in the 21st Century
a double issue of Contemporary Music Review, 40 (2–3) which has been in the works for five years!
https://www.tandfonline.com/toc/gcmr20/40/2-3
The collection of articles, by a diverse set of musicians and scholars (21 in all), focuses on the playful side of Babbitt’s music, on the performance and recording of his music, and on adapting his music and ideas to such activities as improvisation and cross-stylistic arrangements and recompositions. The collection is replete with new interviews, recently discovered compositions, and archive-based revelations. The intro article is open-access. Please feel free to contact any of the co-editors ( jmailman@alumni.uchicago.edu, awmead@indiana.edu, zbernstein@esm.rochester.edu ) or authors for info (or offprints of other articles or potential avenues to acquire a hard-copy subscription).
INTRODUCTION
On Milton Babbitt: Progressive Artistic Research, Decorous Pranks, and Pig-Stand Jazz — Joshua Banks Mailman
PERSPECTIVES ON PLAY AND PLAYFULNESS
Rethinking Babbitt’s ‘Serious’ Music as Play — Alison Maggart
Between Innocence and Experience: How Analysis Might or Might Not Have Affected My Hearing of Milton Babbitt’s Music — Andrew Mead
Hearing Compositional Play in Babbitt’s Arrays — Zachary Bernstein
RADICAL PLAYS, IN RECOMPOSITION, REALIZATION, AND IMPROVISATION
A Short History of Babbaptations
— Joshua Banks Mailman Babbitt Jazzed: The Bad Plus’s Jazz Trio Arrangement of Semi-Simple Variations — Ethan Iverson Improvising with Arrays — Patrick Zimmerli Milton Babbitt’s E-type All-Combinatorial Hexachord and its Applications to Jazz — Stanley Jordan
FRESH APPROACHES TO TEXTURE AND AUTHENTICITY IN REALIZATION
A Discussion of Strategies for recording Babbitt’s Composition for Twelve Instruments — Erik Carlson
Concerti e Concerti: Babbitt’s Mysterious Bedfellows — Jonathan Dawe
The Private and Public Lives of a Lost Concerto: Milton Babbitt’s Concerti for Violin, Orchestra, and Synthesized Sound — Julia Glenn
PREPARATION AND INTERPRETATION FOR PERFORMANCE
Breaking Babb: Discovery and Process in Learning Babbitt’s Philomel: A Conversation between a Rock Star and a Screecher — Liz Pearse and Tony Arnold
A Conversation with Milton Babbitt and Robert Taub about Performing the West Coast Premiere of Preludes, Interludes, and Postlude — John McGinness and Robert Taub
The Performer in the Music of Milton Babbitt — Marilyn Nonken
Learning, Performing, and Recording Post-Partitions and other Babbitt piano works — Mari Asakawa
Shaping Babbitt’s Semi-Simple Variations — Daphne Leong
ROMANTIC RECOMPOSITION, RACONTEURISM, AND RHYTHM
Playing Babbitt by Ear: How I Composed More Semi-Simple Variations, Intermezzo, and Fugue on a Theme by Milton Babbitt for Piano Four-Hands — Juri Seo
Words About Thinking in Music About Music: References in Call It What You Will — Matt Barber
Playing with Babbitt in the 1980s: Guest Appearances at the New York Philharmonic and Bang on a Can — William Robin
Pulling a Fast More-Than-One: Milton Babbitt’s Time-point Practice — Joseph Dubiel
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