Английская Википедия:Composition for Twelve Instruments

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Шаблон:Short description Шаблон:Italic title Composition for Twelve Instruments (1948, rev. 1954) is a serial music composition written by American composer Milton Babbitt for flute, oboe, clarinet, bassoon, horn, trumpet, harp, celesta, violin, viola, cello, and double bass. In it Babbitt for the first time employs a twelve-element duration set to serialize the rhythms as well as the pitches,[1] predating Olivier Messiaen's (non-serial) "Mode de valeurs et d'intensités", but not the Turangalîla-Symphonie (1946–1948), in which Messiaen used a duration series for the first time in the opening episode of the seventh movement, titled "Turangalîla II".[2] (Babbitt had also earlier used a different kind of rhythmic series, and serial manipulation thereof, in his Three Compositions for Piano (1947) and Composition for Four Instruments (1948).)

Babbitt's use of rhythm in Composition for Twelve Instruments was criticized by Peter Westergaard in Perspectives of New Music: "can we be expected to hear a family resemblance between a dotted half note followed by a sixteenth note (the opening 'interval' of duration set P0) and an eighth note followed by a dotted eighth note (the opening 'interval' of duration set P2)?"[3] He would later employ an approach based on time points,Шаблон:Sfn which Westergaard described as a solution to the above problems.

The combinatorial tone row used may be represented: 0 1 4 9 5 8 3 t 2 e 6 7[4]

Discography

  • Slowly Expanding Milton Babbitt Album: Composition for Twelve Instruments (1948, rev. 1954). Julietta Curenton (flute); James Austin Smith (oboe); Joshua Rubin (clarinet); Rebekah Heller (bassoon); David Byrd-Marrow (horn); Peter Evans (trumpet); Nuiko Wadden (harp); Steve Beck (celesta); Erik Carlson (violin); Chris Otto (viola); Chris Gross (cello); Randy Zigler (bass), produced by Erik Carlson, 2013.[5]

Sources

Шаблон:Reflist

Further reading

  • Borders, Barbara Ann (1979). "Formal Aspects in Selected Instrumental Works of Milton Babbitt," Ph.D. dissertation, Lawrence: University of Kansas.
  • Hush, David (1982–83). "Asynordinate Twelve-Tone Structures: Milton Babbitt's Compositions for Twelve Instruments (Part 1)". Perspectives of New Music 21, nos. 1–2: 152–208. Cited in Vander Weg (2000), p. 56. Шаблон:ISBN. Also cited in Cited in Mead (1989), 11:1, p. 45. Шаблон:Doi. Also cited in Dubiel 1990 28:2, p. 251 Шаблон:Issn. Also cited in Roig-Franconi (2001) 41, p. 88 Шаблон:Issn.
  • Hush, David (1983–84). "Asynordinate Twelve-Tone Structures: Milton Babbitt's Compositions for Twelve Instruments (Part 2)". Perspectives of New Music 22, nos. 1–2 (Fall–Winter/Spring–Summer): 103–116. Cited in Mead (1989a), 11:1, p. 45. Шаблон:Doi.

Шаблон:Milton Babbitt Шаблон:Portal bar

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  1. ↑ Шаблон:Cite book.
  2. ↑ Robert Sherlaw Johnson, Messiaen, revised and updated edition (London: J. M. Dent; Berkeley: University of California Press, 1989): 94.
  3. ↑ Westergaard, Peter (1965). "Some Problems Raised by the Rhythmic Procedures in Milton Babbitt's Composition for Twelve Instruments", Perspectives of New Music 4, no. 1: 109–118, citation on p. 113. Quoted in Шаблон:Harvtxt (with "half note" changed to "quarter note").
  4. ↑ Babbitt, Milton (2011). The Collected Essays of Milton Babbitt, p. 94. Шаблон:ISBN.
  5. ↑ " Slowly Expanding Milton Babbitt Album – Composition for Twelve Instruments, midnightsledding.net; Listen/download
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