Audio examples for  "A Short History of Babbaptations" _Contemporary Music Review_ v.40, 2–3 https://doi.org/10.1080/07494467.2021.2017186 

Contact the author at jmailman@alumni.uchicago.edu for an offprint if you don't have institutional access.

Mailman, J.B. - "A Short History of Babbaptations"

Extreme chromatic tonal harmony in a post/late-Romantic style, composed based on the upper and lower lynes of Milton Babbitt's _Duet_ (1956) for solo piano. The first half of this piece uses Babbitt's upper lyne as a melody; the second half of this pieces uses Babbitt's lower lyne as a bass line.

Discussed in  "A Short History of Babbaptations" _Contemporary Music Review_ v.40, 2–3 https://doi.org/10.1080/07494467.2021.2017186 

Contact the author at jmailman@alumni.uchicago.edu for a reprint if you don't have institutional access.

Mailman - Figure 2 - Recitative In Reger Style (piano)

Mailman - Figure 2 - Recitative In Reger Style (organ)

An algorithmic compositional demonstration that is based on the beginning of the superarray that is the basis of Milton Babbitt's Whirled Series (1987)

Bubbly Babbitt 1 and 2 (2000) are based on a Milton Babbitt 12-tone all-partition array, an intricate serial pitch structure from which he composed Whirled Series (1987) for sax and piano. Creating an algorithm to process the first six partition spans of the array, I re-imagined this serial architectonic structure as a percolating flux of pitch inter-repetitions interweaving and permeating each other, thus creating a surface very different from Babbitt’s. The listener may hear the flow of some pitches fleetingly surges and wanes, some pitches getting temporarily stuck (permeating) while others flow on, then they all flow, and so on.

Discussed in  "A Short History of Babbaptations" _Contemporary Music Review_ v.40, 2–3 https://doi.org/10.1080/07494467.2021.2017186 

Contact the author at jmailman@alumni.uchicago.edu for a reprint if you don't have institutional access.

Mailman - Figure 3 - Bubbly Babbitt (version 1)

An algorithmic compositional demonstration that is based on the beginning of the superarray that is the basis of Milton Babbitt's Whirled Series (1987)

Bubbly Babbitt 1 and 2 (2000) are based on a Milton Babbitt 12-tone all-partition array, an intricate serial pitch structure from which he composed Whirled Series (1987) for sax and piano. Creating an algorithm to process the first six partition spans of the array, I re-imagined this serial architectonic structure as a percolating flux of pitch inter-repetitions interweaving and permeating each other, thus creating a surface very different from Babbitt’s. The listener may hear the flow of some pitches fleetingly surges and wanes, some pitches getting temporarily stuck (permeating) while others flow on, then they all flow, and so on.

Discussed in  "A Short History of Babbaptations" _Contemporary Music Review_ v.40, 2–3 https://doi.org/10.1080/07494467.2021.2017186 . Contact the author at jmailman@alumni.uchicago.edu for a offprint if you don't have institutional access.

Mailman - Figure 3 - Bubbly Babbitt (version 2)

Joshua Banks Mailman is a theorist, analyst, critic, philosopher, performer, technologist, and composer of music, teaching at Columbia University, and previously at NYU, UCSB, U of Alabama, and U of Maryland. A graduate of University of Chicago (AB) and Eastman School of Music (PhD), he researches musical form from flux, temporal dynamic form and is published in Perspectives of New Music, Music Theory Spectrum, TEMPO, Music Analysis, Sonic Studies, Leonardo Electronic Almanac, and others journals and books. He is co-chair of the Analysis of Post-1945 Music interest group of the Society for Music Theory. 
	He developed interactive technologies presented at the 9th Sound and Music Computing Conference (Copenhagen 2012) and International Conference on Music Perception and Cognition (ICMPC) and European Society for the Cognitive Sciences of Music (ESCOM) (Thesseloniki, Greece). www.joshuabanksmailman.com and http://soundcloud.com/joshua-banks-mailman