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dc.contributor.authorSullivan, Erin Lorraine
dc.date.accessioned2014-03-03T23:24:49Z
dc.date.available2014-03-03T23:24:49Z
dc.date.issued2005-08
dc.identifier.othersullivan_erin_l_200508_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/sullivan_erin_l_200508_ma
dc.identifier.urihttp://hdl.handle.net/10724/22812
dc.description.abstractThis paper explores the ways in which scholars can approach and meaningfully discuss the music of Milton Babbitt. Critics argue that the standard discourse constructs a binary division between how BabbittÕs music works and how it soundsÑthat is, the system-based analytical approach engenders an attitude that the only elements of BabbittÕs music warranting serious consideration are theoretical conceptions, not aural perceptions. An examination of BabbittÕs writings will reveal the motivations for, and importance of, this system-based discourse in the analysis of ÒcontextualÓ musical languages. However, this rhetoric has its limitations as well, thus the second part of this paper offers an alternative, listening-based approach to BabbittÕs music by exploring the vivid interplay of compositional structures, poetic text, and perceived meaning of musical gestures in BabbittÕs song cycle, Du (1951). This paper concludes by suggesting possible means of reconciling aural perceptions and compositional structures within a larger framework of serial poetics.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectMilton Babbitt
dc.subjectSerialism
dc.subjectMusic Theory
dc.subjectMusic Analysis
dc.subjectMusic Discourse
dc.subjectDu
dc.subjectSong Cycle
dc.subjectAmerican Music
dc.titleListening to Babbitt
dc.title.alternativeperception and analysis of Milton Babbitt's Du for soprano and piano
dc.typeThesis
dc.description.degreeMA
dc.description.departmentMusic
dc.description.majorMusic
dc.description.advisorAdrian Childs
dc.description.committeeAdrian Childs
dc.description.committeeDavid Schiller
dc.description.committeeJohn Turci-Escobar


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