| 词条 | Composition for Twelve Instruments |
| 释义 |
Babbitt's use of rhythm in the piece was criticized by Peter Westergaard in Perspectives of New Music: "can we be expected to hear a family resemblance between a dotted half note followed by a sixteenth note (the opening 'interval' of duration set P0) and an eighth note followed by a dotted eighth note (the opening 'interval' of duration set P2)?"[3] He would later employ an approach based on time-points,[4] which Westergaard described as a solution to the above problems. The combinatorial tone row used may be represented: 0 1 4 9 5 8 3 t 2 e 6 7[5] Sources1. ^Taruskin, Richard (2009). The Oxford History of Western Music: Music in the Late Twentieth Century, p.168. {{ISBN|9780195384857}}. 2. ^Robert Sherlaw Johnson, Messiaen, revised and updated edition (London: J. M. Dent; Berkeley: University of California Press, 1989): 94. 3. ^Westergaard, Peter (1965). "Some Problems Raised by the Rhythmic Procedures in Milton Babbitt's Composition for Twelve Instruments", Perspectives of New Music 4, no. 1: 109–18, citation on p.113. Quoted by Taruskin, Richard (with "half note" changed to "quarter note") (2009). The Oxford History of Western Music: Music in the Late Twentieth Century, p.168. {{ISBN|9780195384857}}. 4. ^Taruskin (2009), p.166-167. 5. ^Babbitt, Milton (2011). The Collected Essays of Milton Babbitt, p.94. {{ISBN|9780691089669}}. Further reading
5 : Compositions by Milton Babbitt|1948 compositions|20th-century classical music|Chamber music compositions|Serial compositions |
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