Abstract:This essay presents a theory of musical and verbal double entendre inspired by and applicable to the late-period music of Milton Babbitt. Rather than assuming the appropriateness of any single method (which might tend toward singularity of meaning), a number of approaches are applied to three late works: primarily his Whirled Series (1987), and secondarily his Canonical Form (1983) and Gloss on ’Round Midnight (2001). These are interpreted through various kinds of analysis, not only serial, but also tonal (cho… Show more
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