Webs and Snares: Multiple References in Babbitt’s Homily and Beaten Paths

[1] Babbitt enjoyed puns. The multiple referents supplied by the sound of a word-Whirled Series, My Complements to Roger-or suggested by the sound of a word-Phonemena, Transfigured Notes, The Joy of More Sextets-exemplified his delight in uncovering multiple layers of meaning within a single structure.Example 1. None but the Lonely Flute: Pitch-class array cross-references[2] This predilection manifests itself, of course, in the rich and sometimes unexpected multiple references found in the structures of his music. At the opening of his None but the Lonely Flute-a piece built on an all-partition array in which pitch-class (pc) lyne pairs are articulated by register and time-point (tp) lynes by dynamics-the single composite flute line resulting from the interweaving of registral and dynamic lynes references the pc array in multiple ways. Example 1, in which the numbers align with the staff line immediately below, demonstrates three such modes of reference:1) Row segment. is the first hexachord of a row form.2) Array-lyne segment respecting partitions. This passage references a lyne segment from a distant portion of the array. Each partition is represented by a separate attack (such as the fortissimo C and pianissimo G in the opening measure) or string of equal durations (); blank partitions (~) are represented by dynamic changes on tied notes (the D's at the end of the line).3) Single partition of an array lyne via an equal-duration string. The cardinality of the partition (four in a, and two in b) equals that of the equal-duration string; elements may be rhythmically selected, as in b, where the 32nd rest represents the missing pc 3.(1)[3] On much larger levels, Babbitt's propensity for multiple meanings expresses itself in his multiple realizations of single array types. A particular array may be realized in pitch or in time; articulated through instrumentation, register, dynamics, or other distinctive parameters; transformed via R, T, I, or M;(2) combined in superarrays; and utilized in multiple pieces of greatly varying effect.[4] Here I wish to sample two solo percussion pieces to show both their propinquity and Babbitt's propensity for creating highly differentiated music based on the same array. Homily (1987), for snare drum, and Beaten Paths (1988), for marimba, both take the array of My Complements to Roger as their foundation. Homily uses the M7 transformation of this array; its array is T5 of the version found in My Ends are My Beginnings. After articulating this array, it concludes with a hexachordally-combinatorial lyne pair of its row forms, I4 and RI8.(3)[5] The base array is an all-partition array of four lynes and 34 aggregates, articulated in eight blocks (each block essentially containing one row form per lyne). It is based on the E-type hexachord [014589] and, per Babbitt's usual practice, expresses I-type hexachordal combinatoriality between lyne pairs, articulating the hexachordal mosaics shown in Example 2.(4) Because of the reordering of the row's pcs under M7, the segmental trichords expressed by the underlying rows of the two pieces differ. As shown in Example 3, [015] and [014] predominate in Homily, both in number and in their formation of the row's four discrete trichords, while [037] and [015] take this role in Beaten Paths. Discussion of the array's realization in each piece follows.Example 2. Homily and Beaten Paths: Hexachordal mosaicsExample 3. Homily and Beaten Paths: Segmental trichordsExample 4. Homily: Opening aggregates[6] Homily's title itself originates in a pun. At the conclusion of the score, Babbitt appends this quote, from St. John Chrysostom's homilies: "And why, it is asked, are there so many snares? That we may not fly low, but seek the things that are above."[7] In this work for solo snare drum, the array is presented in time, with time-point (tp) lynes articulated by dynamics from pp to ff (pp, p, mp, mf, f, ff). …