<font color='black' size='2' face='arial'><font size="2">Hi Chris and Kevin,</font>
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<div><font size="2">The digital articulation series is also present in the first eight measures as the total ensemble rhythm, the 1s in Chris's series corresponding with attacks, the 0s with rests or sustains. I'm also not sure what the bass drum is doing in mm. 25-32. The first time-point pieces appear in 1960, I think with "Sounds and Words" being the very first (though given his association of the time-point system with electroacoustic music in the essay "Twelve-Tone Rhythmic Structure and the Electronic Medium," I suspect he may have first conceived of the system in relation to work on the 1961 "Composition for Synthesizer").</font></div>
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<div><font size="2">Best,</font></div>
<div><font size="2">Zack</font></div>
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<div><font size="2">Zachary Bernstein</font></div>
<div><font size="2">Ph.D. Candidate</font></div>
<div><font size="2">CUNY Graduate Center</font></div>
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<div style="font-size: 10pt; font-family: helvetica, arial; color: black; ">-----Original Message-----<br>
From: Christopher Doll <dollchristopher@yahoo.com><br>
To: smt-talk <smt-talk@lists.societymusictheory.org><br>
Sent: Wed, Dec 19, 2012 6:09 pm<br>
Subject: Re: [Smt-talk] Time-point series for Babbitt, "All Set"?<br>
<br>
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<style>#AOLMsgPart_2_a38b7c46-8bc6-4860-ac54-8b69bf6f5996 td{color: black;} </style>Kevin,<br>
<br>
I don't know of any time-point series in "All Set" (I think the time points came slightly later), but there are real experts out there who may know differently. I do know it uses a digital articulation series, by which a given eighth-note attack is either active (1) or not (0), the same system used in Semi-Simple Variations. This series is presented in the drums in mm. 9-16
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<span style="font-size:12.0pt;font-family:Cambria; mso-fareast-font-family:Cambria;mso-bidi-font-family:"><1011(one beat of cut time),1111/1000,0010/0101,1110/0110,0011/1100,1001/1010,0001/0000,0100/0111,1101></span>, then inverted in
mm. 17-24 (all drums together)<style>#AOLMsgPart_2_a38b7c46-8bc6-4860-ac54-8b69bf6f5996 td{color: black;} </style>
<span style="font-size:12.0pt;font-family:Cambria; mso-fareast-font-family:Cambria;mso-bidi-font-family:"><0100,0000/0111,1101/1010,0001/1001,1100/0011,0110/0101,1110/1111,1011/1000,0010></span>, then in mm. 25-32 retrograded in the small tom
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<span style="font-size:12.0pt;font-family:Cambria; mso-fareast-font-family:Cambria;mso-bidi-font-family:"><1011,1110/0010,0000/1000,0101/1001,0011/1100,0110/0111,1010/0100,0001/1111,1101></span> and retrograde-inverted in the large tom
<style>#AOLMsgPart_2_a38b7c46-8bc6-4860-ac54-8b69bf6f5996 td{color: black;} </style>
<span style="font-size:12.0pt;font-family:Cambria; mso-fareast-font-family:Cambria;mso-bidi-font-family:"><0100,0001/1101,1111/0111,1010/0110,1100/0011,1001/1000,0101/1011,1110/0000,0010></span>. I've never figured out what the bass drum is doing in mm. 25-32; I've meant to ask the SMT list about it, but never got around to it until now.<br>
<br>
Much, if not all, of this analysis is in Andrew Mead's book. I'm sure he and others have deeper and fuller analyses they might be willing to share.<br>
<br>
Best,<br>
Chris<br>
<div> </div>
<div>--<br>
Christopher Doll<br>
Assistant Professor<br>
Department of Music<br>
Mason Gross School of the Arts<br>
Rutgers, The State University of New Jersey<br>
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<div dir="ltr"> <font face="Arial" size="2"> <hr size="1"> <b><span style="font-weight:bold;">From:</span></b> Kevin
Holm-Hudson <<a href="mailto:kjholm2@gmail.com">kjholm2@gmail.com</a>><br>
<b><span style="font-weight: bold;">To:</span></b> <a href="mailto:smt-talk@lists.societymusictheory.org">smt-talk@lists.societymusictheory.org</a> <br>
<b><span style="font-weight: bold;">Sent:</span></b> Wednesday, December 19, 2012 2:39 PM<br>
<b><span style="font-weight: bold;">Subject:</span></b> [Smt-talk] Time-point series for Babbitt, "All Set"?<br>
</font> </div>
<br>
Dear Collective Wisdom,<br>
<br>
I am considering using Milton Babbitt's 1957 composition for jazz<br>
ensemble, "All Set," in a graduate class next semester. A web article,<br>
<a target="_blank" href="http://hunsmire.tripod.com/music/allset.html,">hunsmire.tripod.com/music/allset.html,</a> mentions that the work is<br>
Babbitt's first to serialize rhythm according to "time point sets,"<br>
but it does not specify what the series is.<br>
<br>
Looking at the score, I have spotted P0 (in the brasses) and I7 (in<br>
the saxes) easily enough... but those two parts do not appear to use a<br>
corresponding (strict) time-point series. Quantifying the attacks in a<br>
time-grid of eighth notes, the I7 time-point series would appear to be<br>
<3, 5, 11, 6, 1, 4, 3, 9, 11, 4, 2, 2>, whereas the P0 time-point<br>
series would appear to be <3, 5, 13, 1, 4, 10, 6, 11, 5, 1, 4, 1>.<br>
Clearly the repetitions and missing numbers indicate I am looking in<br>
the wrong
place.<br>
<br>
Does anyone know? (I looked at the piano and vibes as well, which<br>
contain R0 and RI7, but there are repeated attack-point values there<br>
as well.) A shot in the dark, perhaps, but I thought it couldn't hurt<br>
to ask.<br>
<br>
Khh<br>
<br>
-- <br>
Dr. Kevin Holm-Hudson<br>
Associate Professor, Music Theory<br>
University of Kentucky<br>
School of Music<br>
465 Rose Street<br>
105 Fine Arts Building<br>
Lexington, KY 40506-0022<br>
<br>
"Creativity has much to do with experience, observation and<br>
imagination, and if any one of those key ingredients is missing, it<br>
doesn't work." --Bob Dylan<br>
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