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Three Essays on Milton Babbitt
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Three Essays on Milton Babbitt (1990)Three Essays on Milton BabbittSerial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg and Webern (1962)Serial Composition and Atonal…Performing Knowledge (2020)Performing KnowledgeEnacting Musical Time (2019)Enacting Musical TimeThe Problem of Completeness in Milton Babbitt’s Music and Thought (2016)The Problem of Completeness i…"Where Have We Met before?" for a 90th Birthday Celebration of Milton Babbitt (2006)"Where Have We Met before?" f…Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music (2001)Cross-Partitions as Harmony a…WHEN EVEN BECOMES ODD: A PARTITIONAL APPROACH TO INVERSION (1999)WHEN EVEN BECOMES ODD: A PART…Partition Lattices in Twelve-Tone Music: An Introduction (1999)Partition Lattices in Twelve-…Unveiling Schoenberg's op. 33b (1996)Unveiling Schoenberg's op. 33bGeneralized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio (1995)Generalized Interval Systems …The Source Set and Its Aggregate Formations (1961)Fundamentals of Musical Composition (1968)The Structure of Atonal Music (1974)O ctatonicism in L uigi D allapiccola's T welve ‐N ote M usic (2006)Having the Last Word: Schoenberg and the Ultimate Cadenza (2012)Perspectives of New Music (1963)The Structure of Atonal Music (1973)Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions (1996)Transformation Chains, Associative Areas, and a Principle of Form for Anton Webern’s Twelve-tone Music (2019)Composition With Pitch-Classes (1987)The Problem of Prolongation in Post-Tonal Music (1987)Neo-Riemannian Operations, Parsimonious Trichords, and Their "Tonnetz" Representations (1997)Generalized Musical Intervals and Transformations (1988)"Ist Alles Eins": Schoenberg and Symmetry (2004)On the Imagination of Tone in Schubert's Liedesend (D473), Trost (D523), and Gretchens Bitte (D564) (2012)Schoenberg's Twelve-Tone Music: Symmetry and the Musical Idea (2014)An Introduction to the Music of Milton Babbitt (1994)Music Inside Out: Going Too Far in Musical Essays (2014)The magical number seven, plus or minus two: Some limits on our capacity for processing information. (1956)The time of music: new meanings, new temporalities, new listening strategies (1989)The cognitive revolution: a historical perspective (2003)An Extension of the Minimally Divergent Contour Network: Considering Nonconsecutive Repeated Contour Pitches (2019)Outline of a Theory of Practice (1977)The reflective practitioner: How professionals think in action (1984)Institutional Ecology, `Translations' and Boundary Objects: Amateurs and Professionals in Berkeley's Museum of Vertebrate Zoology, 1907-39 (1989)Brahmsian Articulation (2021)Rebonds: Structural Affordances, Negotiation, and Creation (2021)Teaching Music Performance in Higher Education (2024)Basic atonal theory (1980)Personal Knowledge: Towards a Post-Critical Philosophy (1959)Large‐Scale Structure, Performance and Brahms's Op. 119 No. 2 (2021)EVOLVEMENT OF SYNCRETIC MUSIC: THE AESTHETIC VALUES OF MALAYSIAN POPULAR AND TRADITIONAL MUSIC (2023)Kaleidoscopic Topics in the Music of György Ligeti and Thomas Adès (2024)Art music from 1800 to 1860 (1998)Zipf's law and the creation of musical context (2006)The Roles of Invariance and Analogy in the Linear Design of Stravinsky’s “Musick to heare” (2008)
this work references cited by second hop

References

  • 1962Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg and Webern80 cited

Cited by

  • 2019Enacting Musical Time68 cited
  • 1995Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio49 cited
  • 2001Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music23 cited
  • 2016The Problem of Completeness in Milton Babbitt’s Music and Thought12 cited
  • 2020Performing Knowledge11 cited
  • 1996Unveiling Schoenberg's op. 33b9 cited
  • 1999Partition Lattices in Twelve-Tone Music: An Introduction7 cited
  • 1999WHEN EVEN BECOMES ODD: A PARTITIONAL APPROACH TO INVERSION6 cited
  • 2006"Where Have We Met before?" for a 90th Birthday Celebration of Milton Babbitt4 cited

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