{UBU ua Jo eq] ruo4 rredy 'srrsl.qd PtDeroel{} uI uoDnlole.r ^,trnlual-tltuee}eulu -prur aqt-'o esoqt 'ol snoSoleue .

,{lasop a;e stradset .{ueru ut pue 'qlpt,{po pa.reduor eq upf, seruanbasuof pup eJnleu asoq,{\ uoDnlolal e 'rq8noqt IE)Isnur uI uoEnloleJ 'd.rolrsut.tl rou-,{lqeqold lsour-pue le}uepl)re So rLrnruerjpq EJo tlnser e sr ]I reqte1 tou sr'reqto eql uo'8ur,u.o11og sll pup )IsnuJ IeuoDIpBJl pue'pueq auo eLF uo 's;aual -sr1 slr pue frsnul snolJes Lre.rodrualuof uoe. Alaq arua8re,ttp peluapare.rdun aql 'sa8etue.tpe aql SurPuaxa pue Suuepl1osuoJ '8utzrpa.r3o sueaul replsuof ol IIa,4d, op ppo,la Jesoduor aqt ',.traltgo lurod dru IUoJC 'f,Isnur sq pue .resoduror eql JoJ (lttp (elqetl^eur dpo tou sI uoDlpuor sltp'lleruor aqt uo snoa6etur.tpe dlpuuatod rnq uopuetuor dur s t1 'elqerlsepun pue ,{;essereuun sI uoI}EIo$ srtp }Eq} dldtur or sI euJBIq
u8rsse ot lng 'rrlqnd eqr ol .{lpuorsecro Lreir pue 's.raru;og;ed.ro strlur o1 Lgeuorsero !1astr rrsntu eql ol u34o 'aruelq Suru8rsse 3o esod.rnd eqt gll \ .{gensn 'passardxa uaaq seq sapnlqtego ller.re,r e ..'uoDB1osr,, pterJos pup IrllsnuJJo LIoEIptIof, slqt spJe,4A.oI

'sleuorssego.rd.{\olleJJo urctu aqt ut 8ut

-tsrsuol ef,uerpne ue eroJeq sueruol pepuelw dl;ood ]e r(lueurr.rd urql pu? 'peur,ro3'red eptll sr frsnu egt ',(puenbesuo3 'tl tuaseJ pue ]I unqs s.raurro;.rad 3o lrr;ofuu aql ')rsnru slq uI palseretulun pue Jo eJe^\eun dla8rel sr r4qnd p;aua8 eqa '.resoduror 'anp,,t dltpouruJof eAEPgeu Jo 'ou 'epl{ seq qrtqan ,,dlrueA,, e 'eluesse ur 'sr e11 dlrpouruor E Jo uorteen aql uo-dauou elqEraplsuor '.{lpnsn pue-^,{8raua pue eurn 'flsnuJ ,(re.rodtueluoJ ..tpalueApe,, Jo lunotue snoulJoue ue spuedxa .resodtuor sIgI

,,'snoues,, se aleu8rsap'tuetuolu eqt JoJ'111rn e,u leq,{\Jo.resodurol eqlJo uoDrpuof, puE snlEls 3qlJo s])eJ elqerndslpur eql sprE./!\ol ePnlpte ue Sunels qll1$ peurs)uol urB I

eapr

'rrsnLu ol uolllppe ur araq] srrlpueqleu ]q8ne] ar-1 ',{;}uec -rlru8rs sdeqro4 ',{lrs.ranrup uo}afuud 1e ,fi;nce; aLl} }o raquau e se^ Jlasutt.l nlqqeg 'pareadde ollrue aq] af urs uorleluar-ua;dur pue acueldacce snoulroua paureS seq leql ue-lrsnur au uorloalord pue yoddns ,{}tsrorrtun ro; aroJaiaq} 3ur11ec ,(q pue

seLl

Jo ^ 'qcreasar lrlrluarJs pue uorlrsodr-uof lef rsnLU ,,snorlas// uaaMlaq ,{3o1eue ue Surrlnelp {q (SSg 'd aas) ,,salueuJlo}lad a}e^tld JoJ ,Qerco5,, s,Staquooqc5 1o uorlrsod aq} alep o] dn Surrq sluar-un8re s,]llqqeg 'pu11 ,(ue jo sraurnsuol .to suo;]ed o1 1ou ',tolsrq slr o] pue ue srq o] sr uor1e31;qo fieuuud asoqM ]srue ue 1o uorldaouoc ,(ue palstxa olorl] ]eql sltlueulod oq] afuts ,(;uo sr lt Jol 'utstftlueuuo; ,(.rn1uac-qluaalaulu

o] alqeelerl are ]eLl] sasruald LuoLl an8re 'prenB acuenpe aq] se uodn peloo; ^l]laJlp ,(;leraua8 are ,(eql qSnoql ']earlar aq] 1o sluauodo.rd ]eLl] llej snolrnl e sr 1; 'pa8et seq ,,'sJo,mo1 Atox,, go suos snorJen olur srasoduoc ,{Lnluar-qtrar}uam} }o sraqurnu luerr;ru8rs Jo le^ erpqlrM ,&e1un1on pue paluaparordun aql ,(q palenelSSe 'suetrtsnLu

;o ,(}rlrqrsuodsar lerfos aLl] pup 3rsnru Jo anlen lerfos oql Jo suorlsanb Lano aleqap 'a3urs rana puv ('srollallof pJofar ro1 autze8euu e laqsrlqnd lsrr; s1r ,{q 1l o1 uanr8 no^Jl sare] oqM,,-allll aqt ot,(;lercadsa s)ueql'snouolou ,{;}uelsur se,rn -,,2ualsrl 's]]asnq:l 1r .ro; 'qraads acueldacce uadsy srq ene8 aq uaql\ ]t Jo ,Mau) ,(;arns uallrrg) -essew 'xoua1 ;eau 'poornto13ue1 le ralua] f rsnw aILls)ra8 aW le A6L lo laluLuns aq] ur uoouraue auo a,re3 prqqeg )le] e ,,']sllellad5 se lasodr,uo3 aql, s,lllqqe8 uo]lrl4 sem aprnrp ;ecrSoloapr aqllo aprs raqlo aq] uror; lualualets 3uo4s,(;;enba uy
'(7961 ':aqrg rg rJqe{ :uopuol) ..p.re.,ty uedry rs.rtg cql Sunta:a1 ug,, 'uauug unue{uag

',,(epol eru peprt,4l.e e,teq no.{ q)Ig,,rt rouoq alqt -Aerlaqun aqt roJ 's>1utq] alqunq ]sotu dru 's1utq] tseru;e,tr dru sse;dxa ol put 'atnlqsul

1gy

,bal]og put rasodruo3

482

The Twenrieth Century

sophisticated and complex constructive methods of any one composition, or group of compositions, the very minimal properties characterizing this b;dy of music are the sources of its "difficulty," "unintelligibility,,' and-isolaiion. In indicatirrg th. _ort genelal of these properties, I shalr make ,"ibr.rr.. ,o ,ro ,p".ifi. *ort r, since I wish to avoid the independent issue of evaruarion. The reader is at riberty to supply his own instances.

First' This music employs a tonal vocabulary which is more ..efficienr,, than that of the music of the past, or its derivatives. This ir.rot rr...rr"rity ui.,rr. it does make possible a greatly increased number of pitch simuitaneities, in itserf, but " successions, and relationships' This increase in efficiency necessirily reduces the ,,redundancy,, of the language, and as a.result the intelligibl. .o--.rr.i.ation of-the work d.emands increased accuracy transmitter (tie performer) and activity from the receiver t"- *. (the listener). rncidentally, it is this circumstance, among many others, that has created the need for purely electronic media of ,,perfor-"rr."..,, More importantly for us, it
capacities.

makes ever heavier demands upon the training

of the-listener,s

perceptual

seconel. Along with this increase of meaningful pitch materiars, the number of ^ functions associated with each component of the musical event also has been multiplied' In the simplest possible tenns, each such .,atomic,, e'ent is located in a fivedimensional musical space determined by pitch-class, register, dyrr"-i., duration, and timbre. These five components not only together a.nrre tn. single event, but, in the course of a work, the successive values of elch componen, .r"n," an individuall' coherent structure, frequently in parallel with the .o.."rporrairr;r;;".;;;ffi.'j by each of the other components. Inability to perceive arrd ,em".rnber precisery the values of any of these components results in a dislocation of the event in the work,s musical space' an alteration ofits relation to all other events in the work, and-thus-a falsification of the composition's total structure. For example, an incorrectly performect or perceived dynamic value results in destruction of the work,s dynamic patternl but also in false identification ofother componenrsof rhe evenr (ofwhich this dynamic value is a part) with corresponding .o-porr.nt, of other events, so creating incorrecr pitch, registral, timbral, and duratitnal aisociations. It is this frigil J.gr.. of ,,determinacy" that most strikingiy differentiates such music from, for example, a popular song. A popular song is only very partiaily determined, since it *o.riJ-'"pp.nr to retain its germane characteristics under considerable alteration or r.grri..,-.hythmic texture. d)rnamics, harmonic structure, timbre, and other qualities. Tbirel" Musical compositions of the kind under discussion possess a high degree oi contextuality and autonomy. That is, the structural characteristics of a given.ivork are less representative of a general class of characteristics than they are unique to the individual work itself. particularly, principles of reratedness, upon which depends immediate coherence of continuity, ^r.. rr1or. likery to evolve i'n the .o.rrse of the work than to be derived from generalized assumptions. Frere again greater and neridemands are made upon the peiceptual and co'ceptual abilities of the listener. Foy'r'th, and finally. Although in many fundamintal respects this music is ,,new,,,ir ^ often also represents a vast extension of ihe methods of oih.. musics, derived from a considered and extensive knowredge of their dynamic principles. For, concomitant with the "revolution in music," perhaps .u.n ,n int.g.li il'..; ,'h.;.or, has been the development of analy'ticar thiory, ioncerned with t]re ,yrie-atic for-.rtntro' of such principles to the end of greater efficiency, economy and understanding. compositions

F{
\-e.

Lr
tbr

aff,
is

ini
he

lt

\\'oi
pin:

call

and mus repc

popi
pror, fbel. conc

a-eair

lr-oui

pubii
a r-ict

I
ntusi.
a\\'arc

il'itho
fronte

o} fsn[', ]Iiqnd ?q} ]]oqxe

oq,4N

suolsslululol n* t"'" rrlp"e p"spr'fol''" llsmu ereq'l.t'pasuadsrp ere e'rt sdeqra4 'lISnuI ;;r; "rrq^',,rr^od,,go 'r'i1lod e^soql paroolra^o aAPq ]ou Ppoqs

.;esnlre -uo] eq ol lqSu eq} lnoq]L&\ lnq

.suoqEsnf]E eqr,{q paruo.l3 slnos Sutueetu-11a,1.r ssoq] Jo ,(q paltro4uor eq or rqSrr aql }noq}I,{\ pu? 'spre'trc
sr1

JopIJo,^A'rr1qndeqr3o.,"*,I,aqlSurtrrru;a]epSJolfEJeq]Joe{Uose.re.uaq}.ata11 urI]lIA e 'seuo8e el so 8uqe,ra1 eql Jo puor.ssaSo;d,, pue alEou rqqnd sIlF Ol tseel le'lrtt.t) eql (('uofllu8orer Jlestuq sr.]uetxe op o1 eq ppo'\\ ,es1e Surqlou paumsse srq ur arrlsnfut ue 'rasodtuor eq] 3r '.ro3 tsanb ipo ol ltq} 'arusnf euros q]r'r'r urc8e *"'o"' p'imd*a "qr sraSo dlltrrltulofn' IIeq ustrtlor ,11 '1".ooraa"srp ro p'to'rdcle :qqnd olJIaslI qlrt '1aa;
{Jo,^e

:irrg

diall

((peluelpt,, eql;o

,r{ru

eq] Jo ereld te>peu

aq] JeAJlstL!\'pe'tl'alleJ lou eJe uoDdtunsuol 'rtlndod ot Uel aJP sJelleur q,"' "'ot"'; lseluarls ('lenlreJ'r eql Jo s'lleu '{1ensn 'Sutuode'r JoJ pepuolul lou selrlue pue s>looq q)nsJo rollpe eluells eql (('lISnuI pre,nr:oJrq8rrrls qlr\Jlesurq slueluof suouerrlqnd spuu aq eJeI{ 'seulze8eru pue uorlrsodo.rd eqf JoJ efuepl{e ,^t.1r,to,
sr frsnru,,

"qi-"r:i'"r "t""'d .uort*r}LreJe#rp alqt.redruol ou slIuIPE-lIlLIf )Isnul

qrq; rlsnu ltq]

'arrlsnf euos

3qI

'slEuJl1o[ puorssa;o'rd

}tq'trJo pue IuIq} ,r.j*ar^r., ot urnf ,{eru ueudul aqr 'rr '{es 01 ^\oq Jo louuer ,,'dq,Lr des ]ou ilLl.r ?rols reql Surd :loJ auu '[9 pe'\\olleq sluep'tmbe'snon]Pl 'Io 1 pur 'tt e>lII ].uop L -dtl..rle,.r1a,,.rftlaodut3unpe1rr,,'rrlrtue.rpun,r,,ta,trsseldxeulrrsluoDsenbullJo'{\ suoseer re-Eo IIL^a osle aq eqUI 'peqJn]slpun Ual sI
slq JoJ eq] ]eq] suollJesse Jo urroJ eql uI-((]I e)ll l(uplp L' ,drqsueure3rl s,(p-4a eqt ur pesre^ IIe ]e sr reoS-ualuol

]rql

ol

qlr?es uI

lerrsnuJo

sJl]El'ueqletu3oluetudole^3pJq]pue.arnllelJqlJoenIE^puelue]uofeq}o]luEAaIeJJI t;o q}EuIrsUB

se suosEer eseq]

seu{pnbsrp dlqepue}srepun_ro}n)olrelul

e.tusaSrp eqt Sur.regns s?,\\ erl pue

,luesealdun etro^ s(JrJntfel eqr.'L111qr ileq 3q1 punoJ

sII{'reuulprood

,qgpr*,q',to$eorarnpSslqroJsuosEer.sslferdsasopsrpueru'fu1lno'ssa;nprepuo it'ot*o' 'sellrn qrns uI ere doqr ttq'u Sureq suoBUeA

,,ilou {t1tr1,, :atrnbur ;td tqsl; eq] ty "'susrqd;ouoeuol{ -uof IEr)oS..'ll aIJI l(tlplp I' :sefuno-uuu aq''uotsnl:uo-f, ueu^'fu1 e'uel no'(3t'aut8eul rrpolrad eslAtulod',;;'j'";;'l t uodn 8u'ueqr

ueeq seq '1e'ta1 F)ISntuJo "lq8laq" sE uele ,.'afuapelep,, qlrru pe8rvqf jrr.r* pezqe'ad' ,,..rrlqrrl.ro, p,nol oq,^ plerJ eql ur Sutzqetreds rrqlo eqt.ro "'q8|t| os sI aluereJuol eqlJo 'g.purq surnrttluaqleru 0ZI .,{po p1.lo'u eql-ul arE ereql }Eql eql eTI egl, ,Lg6;.i;.raquatdeggo saM?J4,LliLlPN aql uro'r;'8ut''nolloJ aql uo Ie^ol )gquarls st srtslqd" lEql lun]llp eqlJO slseq slueurelels pug ol lF'WIp ]ou sI ]I 1..srrs''{qd qllu ueruredar olper eqlJo sJr]I^Rre eql alenba'ueql 'tsors-fqd Je)Eerorq] aq]Jo esoq] osp 8ur'r(1dur,,'llsntu sl^llsntu" spJol\ oql qll'A\ 'lou,r{r1tr1 (('rlsntu rn['sirrrr-r*,, ]?ql ellsuelxe e'srq] ol lng 'sPIaU roqlo uI punorSpeq slq utql 'pa>1o,tur sI prepuels ,lqrrop '.r*. uarq s*q dfiensn uorle-tnpe I'trsnur esoq,4A. uos;ed eql ol selrlelrs pu* sue ,ir1 peuroJul .ql ri rroru 'rtadde ot palradxa aq uer dler'rels 'lasodtuol ,rrq, .rnq, palue^pv'srrsdqd "lq6rflri e3pel,r,to*I aql slraller 1l ltq] luelx3 eq] o]'rrsntu ;o.&qrur3go pue .sroeruaqr*.u :"1d..t"xe .ro3 'ur {ro,4 palut^pe lsoul 3ql puelsrepun p,r" :iqaorol'd aql ueq't passed seq ppor uorltredald pnads lnoqll^e t'n* pt'n"lpa-1e'lt '(lpurou

uE Jo eluoplle ,.'r(le;tdsuof ,' sllolplsul 8uillru8rs tuo'g

puE uropeJoq slql Jo uollElsuErl aqr

pue }ueuJ}u3seJ olut luatualzznd aruD er{I 'slqISUaJePuI eul Ol sruaes lEq} uoDtllunuep iesle Surqrdur ro flsnlu 'puels;apun ueur''te1 aqr ppoqs ft1tr1

'(po

sI

o] elqeun

'rordtr., p,ddrnba '(lqtrrns e sesoddnse'rd rtsnu srql 'uorlelrunurulof elqeredruor >1se dlrressefsu pelooJ e{rT .reurtsrl eq} tuo{} atuauadxa pue e8pe1.Lron1

sI eq ]tq.la

[qpafiTlpue

p3'roq

ti"tp tttpo eq

II? os

!g7

lrer:o5 Put -resoduro3

484
Listen

lhc Tu'cntieth Century

that familiarity breeds to more contemporary music," apParently on the theory souls, who remind the ;**,. acceptance. o, thore, ofte' th. same well-meaning ro the io_pnr.. .rf hi, ,,obligucorr'ro the public,,' while the public's obligadon before or concert hall .o_por", is fulfillecl, *i"rif"rtly, by mere physical presence in the
a loudspeaker.

picture ofvirtuous music in a sinful world, but to point world. A,nd so, I dare up the problems of ife.d music in an alien and inapposite " his music an immediate and eventual suggest that the .o-por.. would do himself and from this public world to one of service by total, resolute, and voluntary withdrawal eiectronic media, with its very real possibility of complete

say all

this not to present

private performance and ill*i,t"ilo,t of the public and social aspects of musical composition' survival for the of But hou,, it may be asked, will this sen/e to secure the means one answer is that after all such a private life is what the composer and his musicf proper that the university' orriuirsity providcs the scholar and the scientist' It is only with their prowhich-sijnificantly-has provided so mal-ly contemporary composers a home for the "complex," fessional training una g;.r.rut education, should ptnuid. ;'ditncult," and ;problJmadcal" in music' Indeed, the process has begun' I do not *i.n t"- "ff.", ,o obscure the obvious differences between musical that these differences composition and scholarly r"r""..h, although it can be contended the various fields of study' I do are no more ftindamer-rt"l thar-, the differences among their nature, justif, the denial to music's devell.r.rtio., whether these differences, by applicabiliq' opment of assisrance granted these other fields. Immediate "practical" in "immediate^ extensibility of a i*fri.n may be said tl have its musical analogue condition for the support of compositional technique") is certainly ,tna n ,-r"..rrary is so supported because.in scientific research. Aua f ii be contenied that such research rvith' for example' the the past it has yielded eventual applicatiols, one can counter lifetime was regarded (to th; music of Anton webern, which during rhe composer's hermetic, specialized, u.f fml."a extcnt tnuf it *", .eg"rd.i at all) as the ultimate inthe composer's death' after and idiosyncratic composition; today, some dozen years have b.en ...oided by a major record company' primarily-I hi, .o-pl"r. works the postwar' a result of the enormous influence this music has had on

,.,rp..o-",

more secure against ,on-popol"r, musical world. I doubt that scientific research is arry if it be conpr"al.tltn, of ultimate significance than is musical composition' Finally, to the sum of contributes tended that rcsearch, even in its least "practical" phases, knowledge particular realm, what possibly ca[contribute more to our knowledge in the

of music than a genuinely original composition? promises the-sole Granting to r,'rrri. th" po"rition acctrded other arts and sciences Admittedly, if this describing. substantial means of survival for the music I have been the whistiing repertory of the man in the street will be litde music is not supported, of musical culturc u'ill affected, the concert-going activity oith. .ot-ttpicuous consumer that important sense, I'r'ill be little distr.rrbed. Birt music wiil cease to evolve, and, in
cease

to

live

Miltor.r Babbitt...Who Cares Ifyou Listcnf lc:erued. Itcprintcd bl pcrrnission'

" Higb Fidetitl,,YIII

(February f 95B),38-40, 126-27

' Allrigll''

Babbitt,sarsumentsaremethead-onbyCeorgeRochberginaspeechdeliveredin hermeticism is 1g71.lt is lignificant that this impassioned rejection of "scientific"