ABSTRACT
Elliott Carter is without question the granddaddy of “uptown” “academic” American music. As it is unusual that a famed composer’s reputation includes the negative flavor of the two qualifiers, this chapter begins with a brief introduction. “Uptown” refers to that part of Manhattan Island where most of the universities and conservatories can be found. Where one “studies” music, it is said that “academic” music is created. What is meant here is almost always multi-dimensional serial music that Milton Babbitt brought to the fore in the post-World War II United States. But is it this method at the base of Carter’s renown? The present author for one cannot perceive a parametric architecture in his work. As said, Elliott Carter has always been seen to be a member of this group; yet he personally claims not to be interested in composition employing their formal serial methods. Instead of through a method, is it perhaps the personal sound of the composer – as referred to so often – that is at the foundation of his reputation?
