This study conducts a three-phase investigation of structure and realization in Milton Babbitt's Phonemena (1969-70), for soprano and synthesized tape (or piano). This examination offers insights into the compositional designs of Babbitt's second compositional period such as pitch and time-point all-partition arrays in addition to the relatively unexplored realm of realization of structural elements by the RCA Mark II Synthesizer. Part I discusses the compositional concepts and techniques of Babbitt's second period and examines some of the unique properties exhibited by the compositional designs of this body of work. Part II is a detailed look at the pitch, rhythmic, and dynamic structures as well as the realization of several closely related musical details. This includes an examination of the properties of the pitch and rhythmic structures and the influences that they project on the music including the derivation of Phonemena's unique text and colorful world of sound. In Part III, the realization of the structure is examined through a survey of techniques that are used to unite the music's surface into a plethora of related material. This section reveals many interesting rhythmic details that have previously been overlooked or excluded in the majority of writings on Babbitt's music. Appendices include the all-partition pitch and time-point arrays and an extensive list of anomalies regarding the published score. While this study is a detailed survey of Phonemena's compositional structure and realization, it offers a great deal of general information that is applicable to the majority of Babbitt's work.
