The composer told Meryle Secrest, "I just wanted to study composition, theory, and harmony without the attendant musicology that comes in graduate school. But I knew I wanted to write for the theatre, so I wanted someone who did not disdain theatre music." Barrow suggested that Sondheim study with Milton Babbitt, whom Sondheim described as "a frustrated show composer" with whom he formed "a perfect combination". When he met Babbitt, he was working on a musical for Mary Martin based on the myth of Helen of Troy. Sondheim and Babbitt would meet once a week in New York City for four hours (at the time, Babbitt was teaching at Princeton University). According to Sondheim, they spent the first hour dissecting Rodgers and Hart or George Gershwin or studying Babbitt's favorites (Buddy DeSylva, Lew Brown and Ray Henderson). They then proceeded to other forms of music (such as Mozart's Jupiter Symphony), critiquing them the same way. Babbitt and Sondheim, fascinated by mathematics, studied songs by a variety of composers (especially Jerome Kern). Sondheim told Secrest that Kern had the ability "to develop a single motif through tiny variations into a long and never boring line and his maximum development of the minimum of material". He said about Babbitt, "I am his maverick, his one student who went into the popular arts with all his serious artillery". At Williams, Sondheim wrote a musical adaption of "Beggar on Horseback" (a 1924 play by George S. Kaufman and Marc Connelly, with permission from Kaufman) which had three performances. A member of the Beta Theta Pi fraternity, he graduated "magna cum laude" in 1950.