This essay presents a theory of musical and verbal double entendre inspired by and applicable to the late-period music of Milton Babbi . Rather than assuming the appropriateness of any single method (which might tend toward singularity of meaning), a number of approaches are applied to three late works: primarily his Whirled Series (1987), and secondarily his Canonical Form (1983) and Gloss on ’Round Midnight (2001). These are interpreted through various kinds of analysis, not only serial, but also tonal (chordal and voice-leading), associational, pitch-permeational, and form-functional. Connections to Tin-Pan-Alley song lyrics, jazz improvisation, hermeneutics, and Gibsonian affordances are discussed in relation to these musical analyses. All this is done to infer and cultivate connections (represented as a conceptual integration networks) between Babbi ’s extratheoretic verbal expression and extra-dodecaphonic aspects of his music, connections that suggest an underlying poetics (a tacit motivational philosophy implicitly fueling his creativity) that provides pragmatic benefit to the artistic ambitions of diverse personal identities. DOI: 10.30535/mto.26.2.9 Volume 26, Number 2, June 2020 Copyright © 2020 Society for Music Theory

中文翻译：

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双关语的谐音与巴比特的诗学

本文提出了一种受米尔顿·巴比（Milton Babbi）晚期音乐启发并适用于其的音乐和语言双关语理论。与其假设任何单一方法的适用性（可能倾向于意义的单一性），而是将许多方法应用于三部后期作品：主要是他的旋转系列（1987），其次是他的规范形式（1983）和“光泽”。圆形午夜（2001）。这些都是通过各种分析来解释的，不仅是连续的，还包括音调（和弦和声部引导）、联想、音高渗透和形式功能。与这些音乐分析相关的讨论了与 Tin-Pan-Alley 歌词、爵士即兴创作、诠释学和 Gibsonian 启示的联系。所有这一切都是为了推断和培养 Babbi 超理论的口头表达和他音乐的超十二音方面之间的联系（表现为概念整合网络），这些联系表明潜在的诗学（一种隐含地激发他的创造力的隐性动机哲学）为不同个人身份的艺术抱负提供务实的好处。DOI: 10.30535/mto.26.2.9 Volume 26, Number 2, June 2020 版权所有 © 2020 Society for Music Theory