Babbitt

Abstract: Part I. Progenitors: 1. Consciousness: The modernist narrator on the Victorian sailing ship: Arnold, Huxley, Pater: toward a small world and a large self 2. Authority: Arnold and Babbitt: the best self and the new humanism: Conrad: physis and psyche Part II. Provocation, 1908-1914: 3. Dating Hulme/parsing modernism 4. Ford: the passing of great figures: The Victorian sage in retirement: Little moderns 5. Egoists and imagists: The Ego and His Own: Pound/Upward: Poets rampant 6. Hulme: the progress of reaction: The classical phase: Husserl, Frege, Moore: The making of an anti-humanist 7. Symbol, impression, image, vortex: The problem with Imagism: Impressionism and the prose tradition: In search of a primary pigment Part III. Conclusion: 8. The war among the moderns: The avant-garde in retreat: Pound and Eliot, a counter-current 9. The Waste Land: Speakers and ghosts: The theory of points of view: The painful task of unifying: Myth, tradition, classicism Epilogue. The editor and the loathed disturber.

Abstract: In this celebration of Milton Babbitt's art, Andrew Mead explores the development of a central figure in contemporary American music. As a teacher and writer, Babbitt has influenced two generations of students, including such notable musicians as Stephen Sondheim and Donald Martino. He has helped establish the study of music theory as a serious academic pursuit, and his articles on Schoenberg, Stravinsky, and the twelve-tone system constitute a seminal body of research. But Babbitt is first and last a composer, whose works are, in Mead's words, "truly music to be heard." With Mead as a guide, we discover the strong emotional and expressive charge of Babbitt's music that is inextricably entwined with its structure. Babbitt is a twelve-tone composer, unabashedly so, and it is precisely his profound understanding of Arnold Schoenberg's epochal insight that gives Babbitt's music its special quality. By examining the underlying principles of twelve-tone composition, Mead allows us to appreciate Babbitt's music on its own terms, as a richly varied yet unified body of work. In achieving this purpose, he provides an excellent introduction to twelve-tone music in general. Without relying on professional jargon, he lucidly and succinctly explains Babbitt's complexities. A catalog of compositions, a discography, and a bibliography complete a book that will interest performers, music theorists, and music historians, as well as other readers who are enthusiastic or curious about contemporary musical works. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Abstract: This volume is the best-known and most widely discussed work of the influential scholar and critic Irving Babbitt (1865-1933), intellectual leader of the movement known as the New Humanism. It is also the work that best conveys the ethical and aesthetic core of his thought. Broad in scope, it examines a variety of manifestations of romanticism and presents a typology of the imaginative inclinations of that movement Rousseau is analyzed as paradigmatic of the ethical and aesthetic sensibility that is replacing the classical and Christian outlook in the Western world. For Babbitt, works of imagination are integral to human life in general. He explores romanticism with a view to its implications for Western civilization. Babbitt identifies serious ethical, religious, aesthetic, and philosophical problems in the modern world, but he also shows how remedies to those problems must incorporate the best insights of modernity. First published in 1919, the book is strikingly relevant to today's discussion of the crisis of American and Western culture and education. Babbitt anticipated and analyzed dangerous cultural trends whose consequences are now widely bemoaned. He applies to these phenomena an intellectual breadth and depth rare today. At the end of the twentieth century his prescriptions for dealing with the central problems of Western civilization have acquired an acute urgency. At a time of much renewed interest in Rousseau, Babbitt's book offers a penetrating commentary that challenges widely held beliefs and interpretations. Graced with a lengthy and wide-ranging new introduction by Claes G. Ryn, Rousseau and Romanticism is simultaneously a work of literary history, criticism, and a theory of civilization. In addressing its special subject, this classic study reflects the main themes of Babbitt's thought, making it representative of his work as a whole. Ryn explicates and critically assesses Babbitt's central ideas, refutes widely circulating misinterpretations, and demonstrates the relevance of his writing in the intellectual and cultural circumstances of today.

Abstract: Talking Music is comprised of substantial original conversations with seventeen American experimental composers and musicians--including Milton Babbitt, Pauline Oliveros, Steve Reich, Meredith Monk, and John Zorn--many of whom rarely grant interviews.The author skillfully elicits candid dialogues that encompass technical explorations; questions of method, style, and influence; their personal lives and struggles to create; and their aesthetic goals and artistic declarations. Herein, John Cage recalls the turning point in his career; Ben Johnston criticizes the operas of his teacher Harry Partch; La Monte Young attributes his creative discipline to a Morman childhood; and much more. The results are revelatory conversations with some of America's most radical musical innovators.