Zachary Bernstein
Biographic Data
| ID | 1645158 |
|---|---|
| NAME | Zachary Bernstein |
| GIVEN NAMES | Zachary |
| FAMILY NAME | Bernstein |
| SIGNATURE | BERNSTEIN Z |
| AFFILIATIONS | The Graduate Center, City University of New York |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Hearing Compositional Play in Babbitt's Arrays
The assumptions listeners make about a compositional structure affect their perceptions of music that uses that structure. Accordingly, the commonplace assumption that Babbitt’s arrays reflect modernist formalism encourages listening to his music in formalist terms. This essay argues that this assumption is misplaced, and that Babbitt’s composition with arrays should instead be regarded—and therefore heard—as involving a spontaneity and independe…
Duplicated Subdivisions in Babbitt'sIt Takes Twelve to Tango
It Takes Twelve to Tango(1984) has a subdivision series that unfolds in two dimensions: globally in the first beat of the 2/4 meter, and locally in the second beat. Though the eight subdivision series expressed in the second beat mostly proceed at the rate of one subdivision per measure, occasionally a subdivision will be repeated in two consecutive measures. Attempts to interpret these duplicated subdivisions reveal intersections between the sub…
No prominent works on this page.
Duplicated Subdivisions in Babbitt'sIt Takes Twelve to Tango
It Takes Twelve to Tango(1984) has a subdivision series that unfolds in two dimensions: globally in the first beat of the 2/4 meter, and locally in the second beat. Though the eight subdivision series expressed in the second beat mostly proceed at the rate of one subdivision per measure, occasionally a subdivision will be repeated in two consecutive measures. Attempts to interpret these duplicated subdivisions reveal intersections between the sub…
Hearing Compositional Play in Babbitt's Arrays
The assumptions listeners make about a compositional structure affect their perceptions of music that uses that structure. Accordingly, the commonplace assumption that Babbitt’s arrays reflect modernist formalism encourages listening to his music in formalist terms. This essay argues that this assumption is misplaced, and that Babbitt’s composition with arrays should instead be regarded—and therefore heard—as involving a spontaneity and independe…
Art (2 works) · Babbitt (2 works) · Engineering (2 works) · Musicology and Musical Analysis (2 works) · Acoustics (1 work) · Active listening (1 work) · Aesthetics (1 work) · Archaeology (1 work) · Communication (1 work) · Epistemology (1 work)