Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

The Conflict Between Particularism and Generalism in Andrew Mead's Introduction to the Music of Milton Babbitt

The Conflict Between Particularism and Generalism in Andrew Mead's Introduction to the Music of... determining certain types of arrays) to be able to construct pre-compositional arrays. Furthermore, to talk about the relationship between array structure and compositional realization, one only needs to invoke an analytic theory. Mead, however, does bring something extra to the table. An accomplished composer himself, he brings his years of experience gained by working within the twelve-tone system to bear on his analytical observations. Consequently, he is able to focus our attention on details that otherwise might escape our view, and he is able to draw out the implications of a compositional gesture, because he knows the various roadways open to a gesture for its development. In any review, we want to investigate at least some of the usual questions. Some examples of these questions might be: who is the appropriate reader; what is the overall organization, focus, and approach; what is new about the approach; what is special about the book; what are the production issues, if any; how comprehensively is the topic explored; and are there any important analytic or theoretic issues raised in the course of the work? The last question is especially important in the present case, because the value of an analytic enterprise http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

The Conflict Between Particularism and Generalism in Andrew Mead's Introduction to the Music of Milton Babbitt

Journal of Music Theory , Volume 46 (1-2) – Jan 1, 2002

Loading next page...
 
/lp/duke-university-press/the-conflict-between-particularism-and-generalism-in-andrew-mead-s-s0ErfqY5Eg
Publisher
Duke University Press
Copyright
Copyright 2002 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-46-1-2-285
Publisher site
See Article on Publisher Site

Abstract

determining certain types of arrays) to be able to construct pre-compositional arrays. Furthermore, to talk about the relationship between array structure and compositional realization, one only needs to invoke an analytic theory. Mead, however, does bring something extra to the table. An accomplished composer himself, he brings his years of experience gained by working within the twelve-tone system to bear on his analytical observations. Consequently, he is able to focus our attention on details that otherwise might escape our view, and he is able to draw out the implications of a compositional gesture, because he knows the various roadways open to a gesture for its development. In any review, we want to investigate at least some of the usual questions. Some examples of these questions might be: who is the appropriate reader; what is the overall organization, focus, and approach; what is new about the approach; what is special about the book; what are the production issues, if any; how comprehensively is the topic explored; and are there any important analytic or theoretic issues raised in the course of the work? The last question is especially important in the present case, because the value of an analytic enterprise

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2002

There are no references for this article.