SEARCH RESULTS FOR: Babbitt
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1916–2011 American composer An enthusiastic exponent of modernism, Babbitt is an influential teacher. In a famous essay, ‘Who cares if you listen ?’, he argued that modern composers should not address the mass concert audience but, like scientists communicating research to their fellows, a specialist, almost private one. Strongly influenced by Schoenberg and Webern, he ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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way since the world’s first one – the American RCA Mk I, made in 1951, whose bulk occupied a laboratory. To play it, composers such as Milton Babbitt (a fan of Mk II) had to tap in punched-tape instructions – there was no keyboard. Synthesizers became available commercially during the mid-1960s when two innovators, Donald Buchla and ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer
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The world’s first synthesizer was the American RCA Mk I, made in 1951, whose bulk occupied a laboratory. To play it, composers such as Babbitt had to tap in punched-tape instructions – there was no keyboard. In 1964, Robert Moog (1934–2005) developed the first commercially successful synthesizer. It was capable of generating a wide range of sounds ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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In the 1950s, the American composer Babbitt was the first composer to work on a synthesizer which the US company RCA had developed. The resulting Composition for Synthesizer (1961) was Babbitt’s first fully synthesized work. It was followed in the same year by Vision and Prayer for soprano and synthesizer, and then Ensembles for Synthesizer (1962–64). Babbitt appreciated the ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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known for his film music. Recommended Recording: Cornish, English and Scottish Dances, London PO (cond) Sir Malcolm Arnold (Lyrita) Introduction | Modern Era | Classical Personalities | Milton Babbitt | Modern Era | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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b. 1930 American composer and lyricist Sondheim studied with Oscar Hammerstein II (1895–1960) and Babbitt. Early work as a lyricist for Jules Styne’s (1905–89) Gypsy (1959) and Bernstein’s West Side Story (1957) brought his name to public attention, but it was not until Follies (1971) that he achieved recognition as a composer. His work is marked by a biting wit ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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of higher education created a natural home for composers as teachers within universities, and this served only to heighten their isolation from the social mainstream. Some, like Milton Babbitt (1916–2011), styled themselves as ‘specialists’, their audiences inevitably consisting of other ‘specialists’. But that composers themselves felt contemporary social conditions limited their audiences did not make their activities politically insignificant. ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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Western classical music since the seventeenth century, because it placed great emphasis on harmonic subtlety and tensions between keys, had been less interested in melodic flexibility (a maximum of 12 notes to the octave, while Indian music uses 22) and in rhythm (regular division into bars, normally of two, three, four or six beats; Indian ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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the Darmstadt courses and at the Donaueschingen Festival, as well as in Paris and Cologne. Its strength was increasingly felt in the US as well as Europe, with Babbitt, Wolpe and Carter all evolving individual lines of development. The most striking instance of its impact, however, was on Stravinsky, widely regarded as the greatest composer ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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