teenth century (who were concerned
with the faculty of music of represent–
ing human emotions, or objects, or
events). I did not say that this is
Stravinsky's particular
originality.
I
said it is Stravinsky's
concern.
And I
said it as one would say of a steak
house;
"It
is the particular concern of
this restaurant to cook steaks." Or as
one would say of the dodecatonalists;
"It is the particular concern of these
people to propagate a system of com–
position in which the twelve semi-tones
of the chromatic scale can be used, and
juxtaposed without reference to any
root-tone and without any dependence
upon the laws of acoustics." Of course,
Mr. Leibowitz, the measurement of
musical time, as any non-obscurantist
musician would understand it, has to
deal with much more than "the length
and proportion of the various sections
of a piece." Come, come, Mr. Leibo–
witz, you must know what musical time
perception is. I mean, not Kantian time,
but
chronos
which for a composer is,
to all intents and purposes, a "thing
which flows." The measurement of
musical time has to deal with acute
time perception, with rhythmical in–
ventiveness, with the shaping of the
tiniest melismatic cell, with the skillful
juxtaposition of several time patterns
(Do you follow me, Mr. Leibowitz? I
said time patterns, not rhythmical pat–
terns), and of course, with the most
minute and precise proportions and re–
lations between silence and sound, loud
and soft, strong and weak. Don't you
realize, Mr. Leibowitz, that if music
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JANUARY 1948: Arthur Kostler--London Letter; Marcel Proust- Filial
Sentiments of a Parricide; Melvin J . Lasky-Report on the German In–
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MARCH 1948: Delmore Schwartz-The World is a Wedding; Rene
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-an American Myth of Love; Anetol& Broyerd-Portrait of the Hipster.
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Concentration Camps; Nicole Chieromonte-Malraux and the Demons of
Action.
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