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Who Cares if You Listen
"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" .
Babbitt was a practitioner of integral serialism, which in his hands could be a highly technical mode of musical composition. The article, which begins "This article might have been entitled 'The Composer as Specialist'", does not refer to serialism at all, but rather takes the position that "serious", "advanced" music, like advanced mathematics, philosophy, and physics, is too complex for a "normally well-educated man without special preparation" to "understand".
==The article==
In this article and throughout his writings, Babbitt's subject is "American culture, which he finds threatened by populism. It has produced little meaningful understanding of or dialogue about music, he argues, and it has forced the 'serious' and 'advanced' composer into a state of isolation" .
Babbitt describes "serious", "advanced music" as "a commodity which has little, no, or negative commodity value", and the composer of such music as, "in essence, a 'vanity' composer". It is music of which the general public is largely unaware, and in which it takes no interest. "After all, the public does have its own music, its ubiquitous music: music to eat by, to read by, to dance by..." Performers, too, are seldom interested in "advanced" music, so that it is rarely performed at all and the exceptional occasions are mainly "poorly attended concerts before an audience consisting in the main of fellow 'professionals'. At best, the music would appear to be for, of, and by specialists". Babbitt goes on to maintain, however, that music cannot "evolve" if it only attempts to appeal to "the public". "And so, I dare suggest that the composer would do himself and his music an immediate and eventual service by total, resolute, and voluntary withdrawal from this public world to one of private performance and electronic media, with its very real possibility of complete elimination of the public and social aspects of musical composition." He recognizes the practical problems for the composer of "advanced" music not patronized by the concert-going public: "But how, it may be asked, will this serve to secure the means of survival for the composer and his music? One answer is that after all such a private life is what the university provides the scholar and the scientist." He concludes: "if this () music is not supported, the whistling repertory of the man in the street will be little affected... But music will cease to evolve, and, in that important sense, will cease to live."
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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