CHAPTER 3 The Apex
Babbitt and Cold War Serialism
One effect of the postwar avant-garde, in both its “total serial” and its “indeterminate” phases, was to put the more moderate techniques of prewar twelve-tone music much nearer the middle of the stylistic road, making those who resisted them seem all the more embarrassably conservative. During the 1950s and 1960s nearly everyone experimented with twelve-tone methods, partly out of curiosity, partly in response to the constant pressure to keep stylistically abreast as mandated by the historicist ideology to which practically everyone, regardless of stylistic orientation or one's other artistic convictions, tacitly assented at the middle of the twentieth century.
- Citation (MLA):
- Richard Taruskin. "Chapter 3 The Apex." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Mar. 2014. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-chapter-003.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 3 The Apex. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 8 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-chapter-003.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 3 The Apex." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-chapter-003.xml