All the Things It Was: Milton Babbitt and American Popular Culture

Presenter: Marissa Ochsner, Music

The recent death of the composer Milton Babbitt has inspired a number of articles recounting his life and works. These accounts typically present Babbitt as the pinnacle of academic modernism, praising his accomplishments in the realm of theory and “serious” music composition and emphasizing that his music is difficult and complex. Many of these accounts also include, usually as a matter of trivia, the paradoxical fact that Babbitt was an avid jazz fan who grew up listening to and performing popular music. In this paper, I use the writings of Milton Babbitt, Roger Sessions, Joseph Horowitz, Dwight Macdonald, and other contemporary intellectuals to argue that Babbitt’s love of pop tunes is not incongruous with his interest in “serious” music. Babbitt’s advocacy of “serious” music composition is related to several cultural innovations of the early twentieth century, including the rise of the phonograph and radio, which accelerated the shift from song-based music composition in the style of Tin Pan Alley to artist-based music marketing of “stars” like Arturo Toscanini, Frank Sinatra, and Elvis Presley. Babbitt’s love of pop tunes from the 20s and 30s and advocacy for “serious” music composition in the 1950s and beyond wasn’t just a funny quirk — it was a reflection of what Babbitt wanted for American music culture: a more active and engaged public with an appreciation for the act of music composition.