By Ives, Charles; Ives, Charles; McDonald, Matthew James
Charles Ives (1874–1954) moved conventional compositional perform in new instructions via incorporating glossy and leading edge concepts with nostalgic borrowings of nineteenth century American well known track and Protestant hymns. Matthew McDonald argues that the effect of Emerson and Thoreau on Ives's compositional variety freed the composer from usual principles of time and chronology, permitting him to get better the previous as he reached for the musical unknown. McDonald hyperlinks this idea of the multi-temporal in Ives’s works to Transcendentalist understandings of eternity. His method of Ives opens new avenues for inquiry into the composer's eclectic and intricate style.
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Extra info for Breaking time's arrow : experiment and expression in the music of Charles Ives
Darrell (Rossiter 1975: 248–49). More recently, Gayle Sherwood Magee has pointed to the persistence of this legend and “the advocacy role that shapes most scholarship and biography” (2008: 2). Ives’s musical output is exceptionally eclectic, which has always been a big part of its attraction for me. But although I love much of it, I’ll freely admit that there are more than a few pieces I don’t care for. And as for his ideas, they run the gamut from inspiring to repugnant. Nonetheless, his music and ideas create unique and fertile imaginative spaces through which to listen to and think about music.
But Ives was grasping at an idea that is crucial to our understanding of his music and thought, an understanding of time strongly influenced by the philosophy of Emerson and Thoreau. ” “Revelation is concerned with all time,” he wrote; “It is prophecy with no time element” (12). Emerson’s “symphonies of revelation begin and end with nothing but the strength and beauty of innate goodness in man, in Nature and in God” (35). If the conclusion of “Majority” finds its fulfillment in “Slow March,” then perhaps Ives saw himself, too, as a prophet of revelation, “telling of what will happen in the past,” the former song’s prophecy realized in the latter’s memory.
1 for Piano By Charles Ives Copyright © 1990 by Peer International Corporation Ink sketch, The Charles Ives Papers, Yale University Music Library Reprinted by Permission. The Unanswered Question By Charles Ives Copyright © 1985 by Peer International Corporation Pencil sketch, The Charles Ives Papers, Yale University Music Library Reprinted by Permission. The Anti-Abolitionist Riots in the 1830’s and 1840’s (Study no. 9) for Piano By Charles Ives Copyright © 1949 by Theodore Presser Company Reprinted by Permission.