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Afterword: Nicht blutbefleckt ?

Afterword: Nicht blutbefleckt ? Afterword: Nicht blutbefleckt? R I C H A R D TA R U S K I N ood heavens, I’ve never thought of it,” Milton Babbitt exclaimed when a Canadian journalist asked him about the possible influence of the Cold War on his thinking about—hence his writing of—his music. “It certainly didn’t have any influence on me in any musical way,” he insisted, even while admitting that the politics of earlier decades had “profoundly influenced his politics and philosophy,” according to the interviewer, Paul Mitchinson—and even after Martin Brody had broken the ground for musical studies of “Cold War culture” with the seminal article to which Peter Schmelz makes reference in his introduction: a study precisely of Babbitt, conducted not by (let’s say) an unsympathetic West Coast music historian, but from within the family of academic serialists, albeit by a member of the clan who could be described, in words he had used to describe another, as “a staunch and impassioned, if progressively more disenchanted, partisan.”1 Babbitt had sat for interviews on the way to that article, and Brody thanks him for this “cooperation in editing them.”2 Had he forgotten? Did he suddenly disagree with what he had http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Musicology University of California Press

Afterword: Nicht blutbefleckt ?

Journal of Musicology , Volume 26 (2) – Apr 1, 2009

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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0277-9269
eISSN
1533-8347
DOI
10.1525/jm.2009.26.2.274
Publisher site
See Article on Publisher Site

Abstract

Afterword: Nicht blutbefleckt? R I C H A R D TA R U S K I N ood heavens, I’ve never thought of it,” Milton Babbitt exclaimed when a Canadian journalist asked him about the possible influence of the Cold War on his thinking about—hence his writing of—his music. “It certainly didn’t have any influence on me in any musical way,” he insisted, even while admitting that the politics of earlier decades had “profoundly influenced his politics and philosophy,” according to the interviewer, Paul Mitchinson—and even after Martin Brody had broken the ground for musical studies of “Cold War culture” with the seminal article to which Peter Schmelz makes reference in his introduction: a study precisely of Babbitt, conducted not by (let’s say) an unsympathetic West Coast music historian, but from within the family of academic serialists, albeit by a member of the clan who could be described, in words he had used to describe another, as “a staunch and impassioned, if progressively more disenchanted, partisan.”1 Babbitt had sat for interviews on the way to that article, and Brody thanks him for this “cooperation in editing them.”2 Had he forgotten? Did he suddenly disagree with what he had

Journal

Journal of MusicologyUniversity of California Press

Published: Apr 1, 2009

There are no references for this article.