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Afterword: Nicht blutbefleckt? R I C H A R D TA R U S K I N ood heavens, Iâve never thought of it,â Milton Babbitt exclaimed when a Canadian journalist asked him about the possible inï¬uence of the Cold War on his thinking aboutâhence his writing ofâhis music. âIt certainly didnât have any inï¬uence on me in any musical way,â he insisted, even while admitting that the politics of earlier decades had âprofoundly inï¬uenced his politics and philosophy,â according to the interviewer, Paul Mitchinsonâand even after Martin Brody had broken the ground for musical studies of âCold War cultureâ with the seminal article to which Peter Schmelz makes reference in his introduction: a study precisely of Babbitt, conducted not by (letâs 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 âa staunch and impassioned, if progressively more disenchanted, partisan.â1 Babbitt had sat for interviews on the way to that article, and Brody thanks him for this âcooperation in editing them.â2 Had he forgotten? Did he suddenly disagree with what he had
Journal of Musicology – University of California Press
Published: Apr 1, 2009
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