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115:(1948, rev. 1954). Julietta Curenton (flute); James Austin Smith (oboe); Joshua Rubin (clarinet); Rebekah Heller (bassoon); David Byrd-Marrow (horn); Peter Evans (trumpet); Nuiko Wadden (harp); Steve Beck (celesta); Erik Carlson (violin); Chris Otto (viola); Chris Gross (cello); Randy Zigler (bass), produced by Erik Carlson, 2013.
50:(1946–1948), in which Messiaen used a duration series for the first time in the opening episode of the seventh movement, titled "Turangalîla II". (Babbitt had also earlier used a different kind of rhythmic series, and serial manipulation thereof, in his
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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
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77:: "can we be expected to hear a family resemblance between a dotted half note followed by a sixteenth note (the opening 'interval' of duration set P
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Borders, Barbara Ann (1979). "Formal
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Hush, David (1983–84). "Asynordinate Twelve-Tone
Structures: Milton Babbitt's
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Hush, David (1982–83). "Asynordinate Twelve-Tone
Structures: Milton Babbitt's
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to serialize the rhythms as well as the pitches, predating
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189:4, no. 1: 109–118, citation on p. 113. Quoted in
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214:Babbitt, Milton (2011).
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