Download Charles Ives: A Research and Information Guide by Gayle Sherwood Magee PDF

By Gayle Sherwood Magee

This study consultant presents particular info on over 1000 guides and internet sites about the American composer Charles Ives. With informative annotations and approximately 2 hundred new entries, this vastly elevated, up to date, and revised advisor deals a key survey of the sphere for readers and skilled researchers alike.

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Vol. 181 of Kölner Beiträge zur Musikforschung, ed. Klaus Wolfgang Niemöller. Kassel: Gustav Bosse Verlag, 1993. ISBN 3764926120. I95 G5. Thorough study of Ives’s “take-offs” as well as related works including Yale-Princeton Football Game, All the Way Around and Back, “Gyp the Blood,” Skit for Danbury Fair, etc. Investigates the musical representation of humor, sports, and reality in these works, as well as their origin and meaning to Ives, and their general musical character and structure. Concludes with specific analyses of each work and several transcriptions.

Stahura, Choice 23 (February 1986): 876; Anne Swartz, American Music 5/2 (Summer 1987): 222–23. 38 ——, ed. Charles Ives and His World. Princeton, NJ: Princeton University Press, 1996. ISBN 069101163X. I94 C33 1996. Volume commissioned by the Bard Music Festival (item 984). Includes five critical essays (items 107, 114, 363, 466, and 659) that redefine Ives’s musical inheritance from the European classical tradition, and the contemporary influences of American culture. Especially valuable are the selected correspondence (item 28), the reprints of reviews from 1888 to 1951 (item 899), and the eleven profiles by contemporary critics and composers published between 1932 and 1955 (including items 131, 149, 251, 308, 311, 322, 335, 351, 561, and 826).

Concise but insightful survey of the structure, form, texts, and experimental techniques in Ives’s works. Organized by genre as follows: Songs, Choral Music, Keyboard Music, Chamber Music, and Orchestral Music. Works in each genre are generally summarized in chronological order, followed by more detailed analyses of large compositions. Reviews: Stephen Banfield, Music and Letters 59/3 (July 1978): 346–47; Peter Dickinson, Musical Times 119 (March 1978): 239; Max Harrison, Composer 62 (Winter 1977–78): 48–50; David Keane, Queen’s Quarterly 86/1 (Spring 1979): 169–70.

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