Academic literature on the topic 'Ives, Charles E. (Charles Edward), 1874-1954'
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Journal articles on the topic "Ives, Charles E. (Charles Edward), 1874-1954"
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Lapsley, James N. "Charles Ives and the Reformed Tradition." Theology Today 64, no. 3 (October 2007): 305–21. http://dx.doi.org/10.1177/004057360706400303.
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The American composer Charles Ives (1874–1954) was rooted in New England Congregationalism, the Puritan wing of the Reformed tradition. Although he is often seen as an innovative composer identified with New England transcendentalism, he never abandoned his Reformed evangelical faith but rather expressed it in some of his greatest music, particularly the Third and Fourth Symphonies.
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Phillips, Robert. "Avant-Garde Music Comes to America (Charles Ives, 1874-1954)." Hudson Review 42, no. 2 (1989): 274. http://dx.doi.org/10.2307/3851524.
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Josephson, Nors S. "Zur formalen Struktur einiger später Orchesterwerke von Charles Ives (1874-1954)." Die Musikforschung 27, no. 1 (September 21, 2021): 57–64. http://dx.doi.org/10.52412/mf.1974.h1.1960.
Full textDissertations / Theses on the topic "Ives, Charles E. (Charles Edward), 1874-1954"
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Bottemanne, Jean-Paul. "L'esprit musical de Charles Ives (1874-1954) : essai sur les spécificités techniques et esthétiques de l'oeuvre de Charles Ives." Paris 8, 1995. http://www.theses.fr/1995PA081135.
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Cette these propose une approche des specificites historiques, techniques et esthetiques de l'oeuvre de charles ives, par sa biographie et une evocation de l'evolution de la musique en amerique du nord d'une part, et par une analyse des principaux caracteres esthetiques des oeuvres du compositeur d'autre part. Ives fut l'un des premiers musiciens americains a rompre avec l'esthetique musicale europeenne du 19e siecle. Artiste solitaire, il est l'auteur d'une oeuvre volumineuse, originale et d'avant-garde, mais decouverte avec parfois plus d'un demi-siecle de retard. Son style est fonde sur une pluralite d'idiomes et questionne la validite de la notion d'unite au sein de l'oeuvre d'art. Atonalite, polytonalite polymorphie et polyrythmie sont, entre autres, des possibilites explorees en vue de la recherche de l'expression de l'ame humaine. Ses conceptions artistiques sont, a ce niveau, influencees par la philosophie d'emerson. L'identite americaine de son oeuvre est revelee par l'emprunt presque abusif de melodies rurales, populaires et religieuses du siecle dernier ; ce qui attenue en partie l'originalite artistique de son oeuvre et lui confere un aspect plus traditionnel. Ives incarne l'image du pionnier, a la recherche du nouveau monde, et dont l'oeuvre appartient a ce siecle this thesis explores the historical, technical and aesthetical specificities of charles ives' work, through his biography and the evocation of the musical evolution in north america first, and through an analysis of the principal aesthetic attributes of the composer's music secondly. Ives was among the first american artists to break of the european musical aesthetic of the nineteenth century. A solitary composer, he is the author of a voluminous and original work "d'avant garde", but to be discovered sometimes more than fifty years later. His style features a plurality of idioms and questions the validity of unity in an art work. Atonality, polytonality, polymorph and polyrhythm are, among others, possibilitiesHe developed in order, for him, to express the substance of the human soul. His artistic conceptions are, in this respect, influenced by emerson's philosophy. The american identity of his work appears through the numerous, almost excessive, quotations of rural, popular and religious melodies, which contribute to give a more traditional aspect to his work and lessen its artistic originality. Ives is the incarnation of the pioneer, in search of the new world, whose art belongs to this century
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Wiens, Carl K. (Carl Kristian). "Structural organization in selected songs from Charles Ives's 114 songs." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61136.
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Charles Edward Ives was the first twentieth-century North American composer to write from a purely American perspective. His music also anticipated many of the stylistic features which characterize later twentieth-century music. This study begins with an examination of secondary literature to show how other scholars have interpreted Ives's music. Few projects have dealt with the question of coherence in Ives's music, in large part due to the seemingly disjunct nature of the music. Unity and coherence were overriding concerns to Ives, as is evident in his writings which are strongly steeped in transcendental philosophy. The second part of the thesis presents analyses of four songs from the 114 Songs: "The Cage," "Ann Street," "Like a Sick Eagle," and "At the River." Linear techniques in concert with the labelling system of pitch-class set theory are the principal analytical tools used to investigate the songs. The analyses begin from the premise that each song contains an underlying compositional plan and is a coherent whole.
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Brandt, R. Lynne (Rebecca Lynne). "Transcendentalism and Intertextuality in Charles Ives's War Songs of 1917." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278789/.
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This thesis examines a collection of three songs, "In Flanders Fields," "He Is There!," and "Tom Sails Away," written by Charles Ives in 1917, from primarily a literary perspective involving Transcendentalism and intertextuality. Ives's aesthetic builds upon the principles of Transcendentalism. I examine these songs using the principles outlined by the nineteenth-century Transcendentalists, and Ives's interpretations of these beliefs. Another characteristic of Ives's music is quotation. "Intertextuality" describes an interdependence of literary texts through quotation. I also examine these songs using the principles of intertextuality and Ives's uses of intertextual elements. Familiarity with the primary sources Ives quotes and the texts they suggest adds new meaning to his works. Transcendentalism and intertextuality create a greater understanding of Ives's conflicting views of the morality of war.
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Lynn, Debra J. "Learning sequences for the experimental choral psalm settings of Charles Ives." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164925.
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The experimental choral psalm settings of Charles Ives (1874-1954) show rhythmic, melodic, and harmonic innovations that pre-date many of his composing contemporaries such as Schonberg and Stravinsky. Of these works, only Psalm 67 is performed regularly. Regardless of their historical significance, the remaining experimental settings; Psalms 14, 24, 25, 54, 100, 135, and 150 are rarely performed due in part to their level of difficulty.This study presents a series of learning sequences for these psalm settings that can be implemented into typical rehearsal periods for advanced or auditioned choral ensembles. The sequences includes choral exercises and drills that introduce pertinent scalar and tonal structures, harmonic considerations, and varying rhythmic patterns. Various techniques are applied including musical chunking and octave displacement.A preliminary study was performed for the learning sequences designed for portions of Psalm 25. Participants and observers found the learning sequences to be effective in fostering an efficient use of rehearsal time. Revisions to the sequences were made according to suggestions from choral music faculty observers and completed participant questionnaires. Upon completion of the revisions for the method for Psalm 25, similar learning sequences were developed for the remaining psalm settings. Gregg Smith, conductor of the Gregg Smith Singers and editor of the psalm settings, was also interviewed regarding his editing, rehearsing, and performing experiences with these works.School of Music
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Denave, Laurent. "Composer une musique savante originale aux États-Unis de 1890 à 1930 : les conditions sociales de possibilité de l’œuvre de Charles Ives (1874-1954)." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0006.
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Charles Ives (1874-1954) est aujourd’hui souvent considéré comme le père fondateur de la modernité musicale américaine. Comment a-t-il été en mesure de produire son œuvre ? Nous pensons que les sciences sociales peuvent répondre à cette question sans faire intervenir les notions de « don » ou de « génie », c’est-à-dire l’idée de talents innés. En effet, certains individus ont eu la chance de produire une œuvre exceptionnelle en raison de circonstances exceptionnelles. L’analyse sociohistorique doit donc se donner pour tâche de reconstituer leurs conditions d’apprentissage et d’exercice de la composition. Il s’agit tout d’abord de comprendre comment ils ont pu développer des dispositions singulières (compétences musicales et disposition critique notamment), puis de déterminer les conditions particulières (des conditions sociales privilégiées et une relative indépendance notamment) qui leur ont permis de faire usage de ces dispositions et de composer une œuvre remarquable. Après avoir présenté notre cadre d’analyse, dans lequel nous définissons les conditions sociales de possibilité d’une musique savante originale, nous appliquons ce cadre d’analyse à l’œuvre de Charles Ives.
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Filho, Carlos Marigo. "L'allusion musicale au début du XXe siècle." Paris 1, 2000. http://www.theses.fr/2000PA010708.
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L'intérêt récent (motivé par des procédés compositionnels pratiquées depuis les années 1960) concernant le cote soi-disant "alusif" de la musique du début de ce siècle, représente le point de départ pour une discussion critique d'un certain nombre d'approches plus ou moins actuelles de la musique de Charles Ives et Gustav Mahler. Pour ce faire, on a essayé la définition d'un nouveau concept d' "allusion musicale", basé sur la notion d'une double altérite nécessaire (par rapport au 'modèle' et par rapport au sujet qui l'énonce) de la réplique musicale, ainsi que l'établissement d'un critère pour aider à sa détection sensible et à son ultérieure reconnaissance analytique. Dans le contexte de la musique de ces deux auteurs du débuts du siècle, beaucoup d'autres points sont discutés parmi lesquels la méthode du "takeoff" chez Ives et sa pré-histoire, ou encore l'accusation portée contre le compositeur américain de pratiquer essentiellement une sorte de 'pot-pourri' musical, sans oublier, pour ce qui est de Mahler, sa position comme précurseur du 'surréalisme musical' ou ses prétendues réminiscences, etc.
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Lambiet, Maud. "Le critique et l’analyste : réceptions de la forme sonate chez Beethoven, Liszt, Ives et Boulez." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0160.
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La critique et l’analyse musicales sont les premières intervenantes à débattre de l’œuvre, de son expression et de sa signification. Liées à des pratiques précises, elles décrivent et interprètent la musique en mobilisant des catégories différentes d’analyse et de compréhension. En participant à transformer les valeurs et les normes auxquelles se conforme la musique et à définir de nouveaux rapports, elles enrichissent chacune à leur façon l’expérience musicale. Partir de quatre sonates pour piano, l’Appassionata de Beethoven, la Sonate en si mineur de Liszt, la Concord Sonata d’Ives et la Deuxième sonate de Boulez, balise un espace temporel de 150 ans et circonscrit un espace herméneutique. Il s’agit de quatre points d’ancrage à partir desquels il est possible d’observer et d’analyser les rapports que les acteurs entretiennent avec les œuvres, les représentations qu’ils projettent et la façon dont ils donnent sens à leurs représentations et à leurs actions. Circuler entre la critique et l’analyse met en évidence qu’un dialogue s’instaure entre les deux et ébranle ce que le sens commun retient, à savoir que l’analyse en tant que pratique savante modère les évaluations subjectives énoncées spontanément et arbitrairement par les critiquesMusic criticism and musical analysis are first to present and discuss the musical meaning and significance of the artworks. They are bound to methods of reasoning and they describe and interpret music by mobilizing different categories of analysis and understanding. In their own ways they improve the musical experience by transforming values and norms and defining new relationships. Four piano sonatas demarcate a period of 150 years and delimit a hermeneutical space : Beethoven’s Appassionata, op. 57, Liszt’s B minor Sonata, Ives’ Concord Sonata and Boulez’s Deuxième Sonate. They are the four beacons from which the relationships between the players and the artworks could be observed and analysed. Critics’ statements and analyses of these sonatas highlight the representations reflected by the players on the artworks and how they give sense to their representations and actions. The flow of ideas between music criticism and musical analysis emphasises that a dialogue is established between them. That undermines what the popular mind retains, i. E. That musical analysis holds the epistemological authority in musical thought
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Vastano, Robert Guy. "A biographical and theoretical analysis of the trumpet in selected chamber works of Charles Ives." 2002. http://hdl.handle.net/2152/11032.
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Lai, Yuan-jing, and 賴圓淨. "The Analysis and Interpreation of three songs Night of Frost in May,The Childrens Hour;Harpalus By Charles Ives(1874��1954)." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/07830924988945443285.
Full textAbstract:
碩士東吳大學
音樂學系
98
In the early twentieth century, composers were fastidious about esthetics, therefore various kinds of changes are found on works of vocal music during this period. The richness and colorful changes in vocal music have also become a key feature in modern music. Numerous works with personal styles were produced. In this essay, three songs by the American composers Charles Edward Ives are chosen here as examples, namely “Night of Frost in May 1899” , “The Children’s Hour 1901” , and “Harpalus 1902 ” . This research is divided into six chapters. It discusses how American social changes influenced the musical creations of Ives. It later looks into the relationship between poems, lyrics, and the poets’ backgrounds, in an effort to comprehend the artistic conception of poems combined with music. Finally, I will use contemporary tape recording as references as well as my past experiences of vocal performances to give an interpretation to appropriate vocal performances. Program 節目單 遺忘 黃友棣 作曲 鍾梅音 作詞 Wolfgang Amadeus Mozart (1756-1791) 莫札特 Ach, ich f�伿l’s (Die Zauberfl�尒e) ╱啊！我知道幸福已經消失了，選自《魔笛》 Franz Schubert (1797-1828) 舒伯特 Im Fr�伿ling ╱春天 Auf dem Wasser zu singen ╱水上之歌 Richart Strauss (1864-1949) Zueignung ╱奉獻 Charles (Edward) Ives (1874-1954) Night of Frost in May ╱五月夜霜 The Children’s Hour ╱孩子的時光 Harpalus ╱哈帕路士 Gabriel Urbain Faur�� (1845-1924) Mandoline ╱曼陀林 Fleur Jet�縹 ╱拋棄的花 Ottorino Respighi (1879-1936) I tempi assai lontani ╱時間早已遠離 Canto Funebre ╱葬送之歌 Felix Mendelssohn (1809-1847) Hear ye, Israel (Elijah) ╱請聽，以色列子民，選自《以利亞》 ________________________________________ 故鄉有條清水河 屈文中 作曲 佚 名 作詞 我住長江頭 青 主 作曲 李之儀 作詞 帕米爾！我的家鄉多麼美 新疆民歌 Alfredo Catalani (1854-1893) Ebben, ne andro lontana (La Wally) ╱如此，我將遠離家鄉，選自《娃莉》 Giacomo Puccini (1858-1924) Senza mamma, o bimbo, tu sei morto! (Suor Angelica) ╱沒有媽咪，哦！小嬰兒，你是死的，選自《修女安吉力卡》 Un bel di, vedremo (Madam Butterfly) ╱美好的一日，選自《蝴蝶夫人》
Books on the topic "Ives, Charles E. (Charles Edward), 1874-1954"
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Henderson, Clayton W. The Charles Ives tunebook. 2nd ed. Bloomington: Indiana University Press, 2008.
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The Charles Ives tunebook. Warren, Mich: Published for the College Music Society [by] Harmonie Park Press, 1990.
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Magee, Gayle Sherwood. Charles Ives: A research and information guide. 2nd ed. New York: Routledge, 2010.
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Clarke, Owens Thomas, ed. Selected correspondence of Charles Ives. Berkeley: University of California Press, 2007.
Find full textBook chapters on the topic "Ives, Charles E. (Charles Edward), 1874-1954"
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Janicka-Słysz, Małgorzata. "Charles Edward Ives Amerykański śpiew wolności." In Horyzonty wolności, 151–60. Uniwersytet Papieski Jana Pawła II w Krakowie. Wydawnictwo Naukowe, 2019. http://dx.doi.org/10.15633/9788374388320.14.
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Charles E. Ives (1874–1954), an American composer – wanted to preach in music and music – freedom and truth. The essence of the composer’s outlook on the world is included in his Essays Before a Sonata, which can be interpreted as a unique composer’s treaty – the only one of its kind. Ives believed that music was an internally dialectic set of values, composed of two subsets – a higher subset of substance, and a lower subset of style or manner, a manner of expression. He wrote: “Why can’t a musical thought be presented as it is born – perchance ‘a bastard of the slums,’ or a ‘daughter of a bishop’”. Ives recalls an important thought by Ralph Emerson, the leading figure of American transcendentalism, and his spiritual mentor: “What you are talks so loud, that I cannot hear what you say?” The generation of Stalowa Wola – „new humanists” or „new romantics” – entered the ax-iological space marked by Ives’s thought: Eugeniusz Knapik (1951), Andrzej Krzanowski (1951–1990) and Aleksander Lasoń. They came back to what – after Mikhail Bakhtin and Roger Scruton – I call emotional memory; they were returning through the reception of the views of Ives and his concept of music as a set of values.
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Butterworth, Neil. "Charles Ives (1874-1954)." In The American Symphony, 36–44. Routledge, 2019. http://dx.doi.org/10.4324/9780429435928-7.
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