{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.reduoreq upf, seruanbasuof pup eJnleu asoq,{\ uoDnlolal e 'rq8noqt IE)Isnur uI uoEnloleJSo rLrnruerjpq EJo tlnser e sr ]I reqte1 'd.rolrsut.tl rou-,{lqeqold lsour-pue le}uepl)retou 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 replsuofol IIa,4d, op ppo,la Jesoduor aqt ',.traltgo lurod dru IUoJC 'f,Isnur sq pue .resoduror eql JoJsnoa6etur.tpe dlpuuatod rnq (elqetl^eur dpo tou sI uoDlpuor sltp'lleruor aqt uo (lttpuopuetuor dur s t1 'elqerlsepun pue ,{;essereuun sI uoI}EIo$ srtp }Eq} dldtur or sI euJBIqu8rsse 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 uaaqseq 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'redeptll 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

,,dlrueA,, e 'eluesse ur 'sr e11 'anp,,t dltpouruJof eAEPgeu Jo 'ou 'epl{ seq qrtqandlrpouruor E Jo uorteen aql uo-dauou elqEraplsuor '.{lpnsn pue-^,{8raua pue eurnJo lunotue snoulJoue ue spuedxa .resodtuor sIgI 'flsnuJ ,(re.rodtueluoJ ..tpalueApe,,,,'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

'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 leqleapr ue-lrsnur ^

au Jo uorloalord pue yoddns ,{}tsrorrtun ro; aroJaiaq} 3ur11ec ,(q pue'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 ',tolsrqslr o] pue ue srq o] sr uor1e31;qo fieuuud asoqM ]srue ue 1o uorldaouoc ,(ue palstxaseLl olorl] ]eql sltlueulod oq] afuts ,(;uo sr lt Jol 'utstftlueuuo; ,(.rn1uac-qluaalauluo] alqeelerl

^l]laJlp are ]eLl] sasruald LuoLl an8re 'prenB acuenpe aq] se uodn peloo;

,(;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 sraqurnuluerr;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

-,,2ualsrl no^Jl sare] oqM,,-allll aqt ot,(;lercadsa s)ueql'snouolou ,{;}uelsur se,rn

1r .ro; 'qraads acueldacce uadsy srq ene8 aq uaql\ ]t Jo ,Mau) ,(;arns uallrrg) 's]]asnq:l-essew 'xoua1 ;eau 'poornto13ue1 le ralua] f rsnw aILls)ra8 aW le A6L lo laluLunsaq] ur uoouraue auo a,re3 prqqeg )le] e ,,']sllellad5 se lasodr,uo3 aql, s,lllqqe8uo]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 ofcompositions, the very minimal properties characterizing this b;dy of music are thesources of its "difficulty," "unintelligibility,,' and-isolaiion. In indicatirrg th. _ortgenelal of these properties, I shalr make ,"ibr.rr.. ,o ,ro ,p".ifi. *ort r, since I wish toavoid the independent issue of evaruarion. The reader is at riberty to supply his owninstances.First' This music employs a tonal vocabulary which is more ..efficienr,, than thatof the music of the past, or its derivatives. This ir.rot rr...rr"rity

" ui.,rr. in itserf, butit does make possible a greatly increased number of pitch simuitaneities, 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.emandsincreased accuracy t"- *. transmitter (tie performer) and activity from the receiver(the listener). rncidentally, it is this circumstance, among many others, that hascreated the need for purely electronic media of ,,perfor-"rr."..,, More importantly forus, it makes ever heavier demands upon the training of the-listener,s perceptualcapacities.

^ seconel. Along with this increase of meaningful pitch materiars, the number offunctions associated with each component of the musical event also has been multi-plied' In the simplest possible tenns, each such .,atomic,, e'ent is located in a five-dimensional musical space determined by pitch-class, register, dyrr"-i., duration,and timbre. These five components not only together a.nrre tn. single event, but, inthe 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.'jby each of the other components. Inability to perceive arrd ,em".rnber precisery thevalues of any of these components results in a dislocation of the event in the work,smusical space' an alteration ofits relation to all other events in the work, and-thus-afalsification of the composition's total structure. For example, an incorrectly performector perceived dynamic value results in destruction of the work,s dynamic patternlbut also in false identification ofother componenrsof rhe evenr (ofwhich this dynamicvalue is a part) with corresponding .o-porr.nt, of other events, so creating incorrecrpitch, registral, timbral, and duratitnal aisociations. It is this frigil J.gr.. of ,,determi-

nacy" 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 itsgermane 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 oicontextuality and autonomy. That is, the structural characteristics of a given.ivork areless representative of a general class of characteristics than they are unique to theindividual work itself. particularly, principles of reratedness, upon which dependsimmediate coherence of continuity,

^r.. rr1or. likery to evolve i'n the .o.rrse of thework than to be derived from generalized assumptions. Frere again greater and neri-demands 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,,,iroften also represents a vast extension of ihe methods of oih.. musics, derived from aconsidered and extensive knowredge of their dynamic principles. For, concomitant withthe "revolution in music," perhaps .u.n ,n int.g.li il'..; ,'h.;.or, has been thedevelopment of analy'ticar thiory, ioncerned with t]re ,yrie-atic for-.rtntro' of suchprinciples to the end of greater efficiency, economy and understanding. compositions

F{\-e.

Lrtbraff,iniis lthe\\'oipin:call

andmusrepcpopipror,fbel.conca-eairlr-ouipubiia r-ict

Intusi.a\\'arcil'ithofronte

o} fsn[', ]Iiqnd ?q} ]]oqxe oq,4N slnos Sutueetu-11a,1.r ssoq] Jo .suoqEsnf]E eqr,{q paruo.l3

-uo] eq ol lqSu eq} lnoq]L&\ lnq .;esnlre sr1 ,(q paltro4uor eq or rqSrr aql }noq}I,{\

n* t"'" rrlp"e p"spr'fol''" llsmu ereq'l.t'pasuadsrp ere suolsslululol pu? 'spre'trc

;;r; "rrq^',,rr^od,,go 'r'i1lod e^soql paroolra^o aAPq ]ou Ppoqs e'rt sdeqra4 'lISnuI

JopIJo,^A'rr1qndeqr3o.,"*,I,aqlSurtrrru;a]epSJolfEJeq]Joe{Uose.re.uaq}.ata11 'seuo8e el so 8uqe,ra1 eql Jo urI]lIA e

Jlestuq sr.]uetxe sIlF Ol tseel le'lrtt.t) eql (('uofllu8orer puor.ssaSo;d,, pue alEou rqqnd

,es1e Surqlou 3r '.ro3 tsanb paumsse srq ur arrlsnfut ue 'rasodtuor eq] op o1 eq ppo'\\

{Jo,^e ((peluelpt,, eql;o *"'o"' p'imd*a "qr ipo ol ltq} 'arusnf euros q]r'r'r urc8e

:irrg di- ,11 '1".ooraa"srp ro p'to'rdcle :qqnd olJIaslI sraSo dlltrrltulofn' IIeq ustrtlor

eq] Jo ereld te>peu "qi-"r:i'"r "t""'d qrq; rlsnu ltq] 'arrlsnf euos qlrt '1aa;

,r{ru all .uort*r}LreJe#rp alqt.redruol ou slIuIPE-lIlLIf )Isnul 3qI 'slEuJl1o[ puorssa;o'rd

ot Uel aJP sJelleur q,"' "'ot"';

aq] JeAJlstL!\'pe'tl'alleJ lou eJe uoDdtunsuol 'rtlndod

JoJ pepuolul lou selrlue pue s>looq lseluarls ('lenlreJ'r eql Jo s'lleu '{1ensn 'Sutuode'r

pre,nr:oJrq8rrrls qlr\Jlesurq slueluof suouerrlqnd q)nsJo rollpe eluells eql (('lISnuI

sr frsnru,, ]rql uorlrsodo.rd eqf JoJ efuepl{e ,^t.1r,to, spuu aq eJeI{ 'seulze8eru pue

,r.j*ar^r., ot urnf ,{eru ueudul aqr 'rr '{es 01 ^\oq

pue IuIq} ol }tq'trJo qlr?es uI,,'dq,Lr des ]ou ilLl.r Jo louuer

1 pur 'tt e>lII ].uop L :loJ auu '[9 pe'\\olleq sluep'tmbe'snon]Pl 'Io ?rols reql Surd

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,drqsueure3rl lerrsnuJo s,(p-4a eqt ur pesre^ IIe ]e sr reoS-ualuol eqUI 'peqJn]slpun Ual sI

sJl]El'ueqletu3oluetudole^3pJq]pue.arnllelJqlJoenIE^puelue]uofeq}o]luEAaIeJJIse suosEer eseq] seu{pnbsrp dlqepue}srepun_ro}n)olrelul sII{'reuulprood t;o q}EuIrsUB

e.tusaSrp eqt Sur.regns s?,\\ erl pue ,luesealdun etro^ s(JrJntfel eqr.'L111qr ileq 3q1 punoJ

,qgpr*,q',to$eorarnpSslqroJsuosEer.sslferdsasopsrpueru'fu1lno'ssa;nprepuo,,ilou {t1tr1,, :atrnbur ;td tqsl; it'ot*o' 'sellrn qrns uI ere doqr ttq'u Sureq suoBUeA

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

,.'r(le;tdsuof ,' sllolplsul uE Jo eluoplle

sE uele ,.'afuapelep,, qlrru pe8rvqf ueeq seq '1e'ta1 F)ISntuJo "lq8laq" 8uillru8rs tuo'g

'g.purq rrqlo eqt.ro jrr.r* pezqe'ad' ,,..rrlqrrl.ro, p,nol oq,^ plerJ eql ur Sutzqetreds

surnrttluaqleru 0ZI .,{po p1.lo'u eql-ul arE ereql }Eql "'q8|t| os sI aluereJuol eqlJo

Ie^ol )gquarls egl, ,Lg6;.i;.raquatdeggo saM?J4,LliLlPN aql uro'r;'8ut''nolloJ eql eTI

slueurelels pug ol lF'WIp ]ou sI ]I 1..srrs''{qd st srtslqd" lEql lun]llp eqlJO slseq aql uo

'tsors-fqd Je)Eerorq] aq]Jo esoq] qllu ueruredar olper eqlJo sJr]I^Rre eql alenba'ueql

'lou,r{r1tr1 (('rlsntu rn['sirrrr-r*,, ]?ql osp 8ur'r(1dur,,'llsntu sl^llsntu" spJol\ oql qll'A\

'pa>1o,tur sI prepuels ,lqrrop e'srq] ol lng 'sPIaU roqlo uI punorSpeq slq utql ellsuelxe

,ir1 '.r*. uarq s*q dfiensn uorle-tnpe I'trsnur esoq,4A. uos;ed eql ol selrlelrs pu* sue

,rrq, .rnq, "lq6rflri

ri rroru 'rtadde ot palradxa aq uer dler'rels 'lasodtuol peuroJul .ql

;o.&qrur3go pue e3pel,r,to*I aql slraller 1l ltq] luelx3 eq] o]'rrsntu palue^pv'srrsdqd

p,r" :iqaorol'd .sroeruaqr*.u :"1d..t"xe .ro3 'ur {ro,4 palut^pe lsoul 3ql puelsrepun

ppor uorltredald pnads lnoqll^e t'n* pt'n"lpa-1e'lt '(lpurou aql ueq't passed seq

aruD er{I 'slqISUaJePuI eul Ol sruaes lEq} uoDtllunuep pue }ueuJ}u3seJ olut luatualzznd

puE uropeJoq slql Jo uollElsuErl aqr '(po sI u iesle Surqrdur ro flsnlu 'puels;apun

o] elqeun sI eq ]tq.la [qpafiTlpue p3'roq ti"tp tttpo eq ueur''te1 aqr ppoqs ft1tr1

'rordtr., p,ddrnba '(lqtrrns e sesoddnse'rd rtsnu srql 'uorlelrunurulof II?

e{rT .reurtsrl eq} tuo{} atuauadxa pue e8pe1.Lron1 elqeredruor >1se dlrressefsu pelooJ os

!g7 lrer:o5 Put -resoduro3

484 lhc Tu'cntieth Century

Listen to more contemporary music," apParently on the theory that familiarity breeds

;**,. acceptance. o, thore, ofte' th. same well-meaning souls, who remind the

io_pnr.. .rf hi, ,,obligucorr'ro the public,,' while the public's obligadon ro the

.o_por", is fulfillecl, *i"rif"rtly, by mere physical presence in the concert hall or before

a loudspeaker.I say all this not to present a picture ofvirtuous music in a sinful world, but to point

up the problems of " ife.d music in an alien and inapposite world. A,nd so, I dare

suggest that the .o-por.. would do himself and his music an immediate and eventual

service by total, resolute, and voluntary withdrawal from this public world to one ofprivate performance and eiectronic media, with its very real possibility of complete

ill*i,t"ilo,t of the public and social aspects of musical composition'But hou,, it may be asked, will this sen/e to secure the means of survival for the

composer and his musicf one answer is that after all such a private life is what the

orriuirsity providcs the scholar and the scientist' It is only proper that the university'

which-sijnificantly-has provided so mal-ly contemporary composers with their pro-

fessional training una g;.r.rut education, should ptnuid. a home for the "complex,";'ditncult," and ;problJmadcal" in music' Indeed, the process has begun'

I do not *i.n t"- "ff.", ,o obscure the obvious differences between musical

composition and scholarly r"r""..h, although it can be contended that these differences

are no more ftindamer-rt"l thar-, the differences among the various fields of study' I do

l.r.rtio., whether these differences, by their nature, justif, the denial to music's devel-

opment of assisrance granted these other fields. Immediate "practical" applicabiliq'

i*fri.n may be said tl have its musical analogue in "immediate^ extensibility of a

compositional technique") is certainly ,tna n ,-r"..rrary condition for the support of

scientific research. Aua f ii be contenied that such research is so supported because.in

the past it has yielded eventual applicatiols, one can counter rvith' for example' the

music of Anton webern, which during rhe composer's lifetime was regarded (to th;u.f fml."a extcnt tnuf it *", .eg"rd.i at all) as the ultimate in hermetic, specialized,

and idiosyncratic composition; today, some dozen years after the composer's death'

hi, .o-pl"r. works have b.en ...oided by a major record company' primarily-I,.,rp..o-", a result of the enormous influence this music has had on the postwar'

,on-popol"r, musical world. I doubt that scientific research is arry more secure against

pr"al.tltn, of ultimate significance than is musical composition' Finally, if it be con-

tended that rcsearch, even in its least "practical" phases, contributes to the sum of

knowledge in the particular realm, what possibly ca[contribute more to our knowledge

of music than a genuinely original composition?Granting to r,'rrri. th" po"rition acctrded other arts and sciences promises the-sole

substantial means of survival for the music I have been describing. Admittedly, if this

music is not supported, the whistiing repertory of the man in the street will be litde

affected, the concert-going activity oith. .ot-ttpicuous consumer of musical culturc u'ill

be little distr.rrbed. Birt music wiil cease to evolve, and, in that important sense, I'r'ill

cease to live .

Miltor.r Babbitt...Who Cares Ifyou Listcnf " Higb Fidetitl,,YIII (February f 95B),38-40, 126-27 ' Allrigll''

lc:erued. Itcprintcd bl pcrrnission'

Babbitt,sarsumentsaremethead-onbyCeorgeRochberginaspeechdeliveredin1g71.lt is lignificant that this impassioned rejection of "scientific" hermeticism is