That music is a language of logic is a fact too much emphasized by academics and too little recognized by the average music lover. No one but a pedant really cares whether a symphony drops to the subdominant key in the coda, but it does exert an influence, however subliminal, on the piece's overall effect. Rely too exclu-sively on logic to make your points, as Milton Babbitt does, and the audience is likely to zone out. But Clarence Barlow's musical logic is like Lewis Carroll's, luring you down a rabbit hole into a wonderland whose charm is that things only seem to make sense; or else, conversely, his nonsense only makes... More >>>