By Ives, Charles; Ives, Charles; McDonald, Matthew James
Charles Ives (1874–1954) moved conventional compositional perform in new instructions by way of incorporating smooth and leading edge thoughts 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 sort freed the composer from traditional rules of time and chronology, permitting him to get well 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 complicated style.
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Additional info for Breaking time's arrow : experiment and expression in the music of Charles Ives
Barlines appear only sporadically in the printed editions of many works, such as the Concord Sonata, “Majority,” “Nov. ” For these pieces, I will refer to specific passages by identifying the page, system, and (when applicable) measure. For example, in the original, 1922 edition of Ives’s 114 Songs, “p. 50/1/2” would refer to the second measure of the first system on p. 50 (from the opening of “Nov. 2, 1920”); “p. 51/1” would refer to the first system on p. 51, which is not subdivided into measures.
9) for Piano By Charles Ives Copyright © 1949 by Theodore Presser Company Reprinted by Permission. Breaking Time’s Arrow Introduction: Ives and Time Telling What Will Happen in the Past In 1922, Ives self-published his 114 Songs, an assemblage spanning his full compositional career and a compendium of the techniques and subject matter of his music. Two years earlier, he had published his Concord Sonata and the accompanying Essays Before a Sonata. Ives composed very few new works after 1921, and it seems that, as he presented these three major works to a public mostly ignorant of his music, Ives suspected that his days of composing major works were over.
Music, as a temporal medium, is ideally suited to express relationships among past, present, and future, to evoke the passing of time and transcendence of time’s passing. Yet the musical traditions Ives knew best were not, from his perspective, sufficiently versatile in their temporal organization to support the ideas and relationships he wished to express. Indeed, there were no precedents for many of the compositional strategies Ives employed. Simply put, Ives needed to reconceive the temporality of music.