By Ives, Charles; Ives, Charles; McDonald, Matthew James
Charles Ives (1874–1954) moved conventional compositional perform in new instructions via incorporating smooth and cutting edge options with nostalgic borrowings of nineteenth century American well known tune and Protestant hymns. Matthew McDonald argues that the impact of Emerson and Thoreau on Ives's compositional sort freed the composer from usual rules of time and chronology, permitting him to get better the prior 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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Extra info for Breaking time's arrow : experiment and expression in the music of Charles Ives
Ives yearned for a simpler, preindustrial time,” Michael Broyles has explained: “Later in life Ives saw modern civilization itself as degenerating, and he responded with self-imposed isolation. He refused to read newspapers or listen to radios, and he fled New York City as soon and as much as he could. … [His political rhetoric] directly reflected his frustrations and disillusionment with the present. It was an expression of the tension he felt between the world in which he lived and the past he wanted to reclaim.
When some processes in a piece move toward one (or more) goal(s) yet the goal(s) is (are) placed elsewhere than at the ends of the processes, the temporal continuum is multiple. (1988: 46)5 There are some crucial differences between Kramer’s concept and the related phenomenon under consideration here. The displacement of linear successions, when it occurs in Ives’s music, is not necessarily a pervasive feature of individual works; it occurs in isolated instances as well. Kramer, however, was interested in defining and categorizing the various “temporalities” established by individual works, temporalities that were by nature pervasive.
Surely, this initial outburst of metaphysical extravagance has turned some away from the collection of songs, just as Ives hoped. Those so disinclined would be surprised, however, to jump to the end of the collection and encounter a much different choice for the ultimate song, one that serves as a fitting antidote to the first. “Slow March” is the first song that Ives ever composed, dating from 1887 or 1888, when Ives was around thirteen years old. ” Its text, apparently a collaborative effort of the Iveses and Charles’s uncle, Lyman Brewster, is as unabashedly homey and modest as the text of “Majority” is existential and profound: One evening just at sunset we laid him in the grave; Although a humble animal his heart was true and brave.
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