Question: "Who Cares if You Listen?", is an article written by the American composer, music theorist, and teacher, Milton Babbitt, and published in the February, 1958, issue of which magazine?

Context articles: Composition for Four Instruments
Milton Babbitt
Stephen L. Mosko
Bethany Beardslee
Maura Bosch
Who Cares if You Listen
Composition for Twelve Instruments
John Rahn
James Romig
David Rakowski

Composition for Four Instruments (1948) is an early serial music composition written by American composer Milton Babbitt.
 It is Babbitt’s first published ensemble work, following shortly after his "Three Compositions for Piano" (1947).
 In both these pieces, Babbitt expands upon the methods of twelve-tone composition developed by Arnold Schoenberg.
 He is notably innovative for his application of serial techniques to rhythm.
 "Composition for Four Instruments" is considered one of the early examples of “totally serialized” music.
 It is remarkable for a strong sense of integration and concentration on its particular premises—qualities that caused Elliott Carter, upon first hearing it in 1951, to persuade New Music Edition to publish it (Carter 1976, 30).
Milton Byron Babbitt (May 10, 1916 – January 29, 2011) was an American composer, music theorist, and teacher.
 He is particularly noted for his serial and electronic music.
Stephen L. (Lucky) Mosko ((1947--) 7, 1947 – 5, 2005(2005--) (aged 57 ) ) was an American composer.
 His music blends high modernism (including serialism) with world music, and he is an expert in Icelandic folk music.
 His, "seemingly contradictory," influences include uptown, downtown, and the West Coast school; including John Cage, Milton Babbitt, Elliott Carter, Morton Feldman, and Mel Powell.
Bethany Beardslee (born December 25, 1925) is an American soprano particularly noted for her collaborations with major 20th-century composers, such as Igor Stravinsky, Milton Babbitt, Pierre Boulez, George Perle, Sir Peter Maxwell Davies and her performances of great contemporary classical music by Arnold Schoenberg, Alban Berg, Anton Webern.
 Her legacy amongst midcentury composers was as a "composer's singer"—for her commitment to the highest art of new music.
 Milton Babbitt said of her "She manages to learn music no one else in the world can.
 She can work, work, work."
 In a 1961 interview for Newsweek, Beardslee flaunted her unflinching repertoire and disdain for commercialism: "I don't think in terms of the public... Music is for the musicians.
 If the public wants to come along and study it, fine.
 I don't go and try to tell a scientist his business because I don't know anything about it.
 Music is just the same way.
 Music is "not" entertainment."
Marjorie Ann Hess a.k.a. Maura Bosch (born 1958) is an American composer.
 She was born in Reading, Pennsylvania, and studied at the Hartt College of Music where she received a Bachelor of Music degree in 1978, and at Princeton University where she received a Master of Fine Arts degree in 1982 and a Ph.D. in 2008, after studying with Alexander Lepak, Edward T. Cone, Milton Babbitt and Peter Westergaard.
"Who Cares if You Listen?"
 is an article written by the American composer Milton Babbitt (May 10, 1916 – January 29, 2011) and published in the February, 1958, issue of "High Fidelity".
 In addition to being the single most well-known work by Babbitt, it epitomized the distance that had grown between many composers and their listeners.
 In the words of Anthony Tommasini in the "New York Times", "To this day, it is seized as evidence that he and his ilk are contemptuous of audiences" .
Composition for Twelve Instruments (1948, rev. 1954) is a serial music composition written by American composer Milton Babbitt for flute, oboe, clarinet, bassoon, horn, trumpet, harp, celesta, violin, viola, cello, and double bass.
 In it Babbitt for the first time employs a twelve-element duration set to serialize the rhythms as well as the pitches, predating Olivier Messiaen's (non-serial) "Mode de valeurs et d'intensités", but not the "Turangalîla-Symphonie" (1946–48), in which Messiaen used this device for the first time in the opening episode of the movement titled "Turangalîla II".
John Rahn is a music theorist, composer, bassoonist, and Professor of Music in the University of Washington School of Music, Seattle.
 A former student of Milton Babbitt and Benjamin Boretz, he was editor of "Perspectives of New Music" from 1983 until 1993 and since 2001 has been co-editor with Benjamin Boretz and Robert Morris.
James Romig (born 1971) is an American composer who studied at the University of Iowa and Rutgers University, where he earned a Ph.D. studying with both Charles Wuorinen and Milton Babbitt.
 He has composed solo, chamber, and large ensemble works that have been performed throughout the United States, Europe, and Asia.
 Recent guest-composer visits include Northwestern University, Columbia University, the University of Illinois, the Cincinnati Conservatory, Juilliard and the American Academy in Rome.
 He is associate professor of music theory and composition at Western Illinois University His works are available from Parallax Music Press, Curving Walkway Publications, Flute World and his personal page.
 Notable awards include a 2010 Aaron Copland Award and Aaron Copland House residency, and artist residencies at Petrified Forest National Park and Grand Canyon National Park.
 His work has been part of numerous new-music festivals such as the Aspen Composers Conference, Wien Modern, Alfeo Gigli, Total Music Festival, June in Buffalo, Imagine, Iowa Composers Forum, and SCI Regional and National conferences.
 His recordings have been released on labels such as Navona Records (distributed by Naxos Records) and published in journals such as Perspectives of New Music.
David Rakowski (born June 13, 1958, St. Albans, Vermont) is an American composer.
 He studied under such composers as Robert Ceely, John Heiss, Milton Babbitt, Peter Westergaard, Paul Lansky, and Luciano Berio.
 In 2006, he was awarded the Chamber Music Society of Lincoln Center's 2004-2006 Elise L. Stoeger Prize.
 He has twice been a finalist for the Pulitzer Prize for Music: in 1999 for "Persistent Memory" and in 2002 for his second symphony "Ten of a Kind".