Milton Babbitt Total Serialism
An influential composer, theorist and teacher who wrote music that was intensely rational and for many listeners impenetrably abstruse, died on Saturday. He was 94 and lived in Princeton, N.J.
Milton Byron Babbitt was born in Philadelphia on May 10, 1916, and grew up in Jackson, Miss. He began studying the violin when he was 4 but soon switched to clarinet and saxophone.
Paul Lansky, a composer who studied with Mr. Babbitt and was a colleague at, where Mr. Babbitt remained an emeritus professor of composition, said that Mr. Babbitt died at a hospital in Princeton. Babbitt, who had a lively sense of humor despite the reputation for severity that his music fostered, sometimes referred to himself as a maximalist to stress the musical and philosophical distance between his style and the simpler, more direct style of younger contemporaries like Philip Glass, Steve Reich and other Minimalist composers.
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It was an apt description. Although he dabbled early in his career with theater music, his Composition for Orchestra (1940) ushered in a structurally complex, profoundly organized style that was rooted in Arnold Schoenberg’s serial method. Advertisement But Mr. Babbitt expanded on Mr. Schoenberg’s approach. Schoenberg’s system, a composer begins by arranging the 12 notes of the Western scale in a particular order called a tone row, or series, on which the work is based.
Babbitt was the first to use this serial ordering not only with pitches but also with dynamics, timbre, duration, registration and other elements. His methods became the basis of the “total serialism” championed in the 1950s by Pierre Boulez, Luigi Nono and other European composers. Babbitt began exploring this path in Three Compositions for Piano (1947) and Composition for Four Instruments (1948), and adhered to it through his entire career. He composed prolifically for chamber ensembles and instrumental soloists and created a substantial and varied catalog of vocal works. He also composed a compact but vital group of orchestral pieces and an enduring series of works for synthesizer, often in combination with voices or acoustic instruments. Babbitt liked to give his pieces colorful titles, often with puns (“The Joy of More Sextets,” for example), and said that in selecting titles he tried to avoid both the stale and the obscure. Babbitt explained his compositional approach in essays, lectures and program notes, they could be as difficult to understand as his music.
In one program note, he spoke of “models of similar, interval-preserving, registrally uninterpreted pitch-class and metrically durationally uninterpreted time-point aggregate arrays.” He often said in interviews that every note in a contemporary composition should be so thoroughly justified that the alteration of a tone color or a dynamic would ruin the work’s structure. And although colleagues who worked in atonal music objected when their music was described as cerebral or academic, Mr. Babbitt embraced both terms and came to be regarded as the standard-bearer of the ultrarational extreme in American composition.