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$49.95
21. The Charles Ives Tunebook
 
22. Charles Ives and the Classical
 
23. Charles Ives: The Ideas Behind
 
$3.98
24. A Union of Diversities: Style
$95.81
25. Charles Ives: A Guide to Research
$107.95
26. Charles Ives: A Bio-Bibliography
$70.51
27. The Life of Charles Ives (Musical
 
28. Charles Ives and His America
29. All Made of Tunes: Charles Ives
 
30. The Charles Ives Tune Book (Bibliographies
 
31. An Ives Set
 
32. Ives: A Survey of the Music (Isam
 
$39.00
33. Angels of Reality: Emersonian
 
34. EVOLVING KEYBD STYLE CHAS (Outstanding
$9.70
35. What Charlie Heard

21. The Charles Ives Tunebook
by Clayton W. Henderson
Hardcover: 448 Pages (2008-07)
list price: US$49.95 -- used & new: US$49.95
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Asin: 0253350905
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22. Charles Ives and the Classical Tradition
 Hardcover: 200 Pages (1996-05-29)
list price: US$45.00
Isbn: 0300061773
Average Customer Review: 5.0 out of 5 stars
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Editorial Review

Book Description
Although Charles Ives has long been viewed as the quintessential American composer, he was also closely linked to the European classical tradition, say the Ives scholars in this book. Contributors explore the influences on Ives of his musical predecessors and the parallels between Ives and his European contemporaries, revealing him as culturally unique and yet reliant on the classical tradition for aesthetic philosophy and musical techniques. ... Read more

Customer Reviews (1)

5-0 out of 5 stars Charles Ives: The Great Anticipator.
Igor Stravinsky, late in life, and in an unusually rare moment of candor for him, conceded that Charles Ives had been "The Great Anticipator." Unfortunately for Ives, this bout of candor came eight years after he died. And, upon Arnold Schoenberg's death In 1953 (six months before Ives did), his widowcame upon a remarkable statement by her husband, written nearly a decade earlier: [quote]

There is a great Man living in this Country - a composer.
He has solved the problem of how to preserve one's self-esteem.
He responds to negligence by contempt.
He is not forced to accept praise or blame.
His name is Ives. [unquote]

That these two composers, contemporaries of Ives, took so long to pay proper tribute is as much a result of Ives having chosen to be a "private" composer over the two important decades of his composing life (1902 - 1922) as it was their own agendas and efforts. Before 1922, nothing of significance that Ives had written saw public performance subsequent to his 1902 cantata, "The Celestial Country." And nothing of significance came from his pen after those two decades; he spent the balance of his life editing his works and supporting the efforts of other American composers.

However, beginning in the 1930s, Ives's works slowly began to see public performance, and the pace of performance did pick up in the years remaining to him. And what concert-goers, and fellow composers, began to hear was a bewildering variety of musics, at least some of which reminded them of works not only by Schoenberg and Stravinsky but by Debussy, Bartók, Scriabin, Copland and a host of other "moderns." And on his death in 1954, at which time Harmony Ives placed his works in public trust, with John Kirkpatrick as the executor, the floodgates began to open on what it was that Ives had accomplished, not least of which was to anticipate virtually every significant stylistic movement in 20th-century music.

With the 50th anniversary of Ives's death just days away (May 19, 2004) as I write this, we now have a much better picture of "Ives the anticipator." And, as well, "Ives the protean American extender of the classical tradition." And this book, edited by two of the most knowledgeable Ives scholars, is as fine an effort as I've seen at putting Ives in proper historical perspective. It is the benchmark for the comparative study of Ives's compositional aesthetic, and I don't expect that it will be soon surpassed in this respect.

The book is in two unequal parts (following an introduction by J. Peter Burkholder). The first third of the book, entitled "Predecessors," describes Ives's early musical education, by both his father and Horatio Parker. The three essays in this section cover his background in, and familiarity with, the music of Bach, Beethoven, Brahms, Franck, Dvorak, Tchaikovsky and Reger, as well as those who, like Parker, made up the preceding "New England School": George Chadwick, Frederick Shepherd Converse, Daniel Gregory Mason and John Knowles Paine. Sandwiched between the European and New England School essays is a superb one by Geoffrey Block (co-editor along with Burkholder) entitled "The 'Sounds That Beethoven Didn't Have'," showing how Ives both borrowed from and built upon Beethoven in writing his culminating keyboard masterpiece, the "Concord" Sonata. This essay cannot but help those who are befuddled by this thorny work.

The balance of the book is given over to comparisons of Ives with his European contemporaries. The first is a reprint of Robert P. Morgan's groundbreaking 1978 essay, "Ives and Mahler: Mutual Responses at the End of an Era." While this essay is available on the internet in Adobe pdf form, its inclusion here is most welcome and appropriate. There is so much commonality in the compositional aesthetics of these two (incorporation of "vernacular" music, use of polyrhythms, providing for "near" and "far" sound fields) that it is surprising that matters took as long as they did to reach this stage (although Elliott Carter, some years earlier, had pointed the way, seemingly the first to do so).

"Ives, Schoenberg, and the Musical Ideal" sets out not only the similarities between Ives's usage of the terms "manner and substance" and Schoenberg's of "style and idea" (and their commonality in philosophical thought traceable back to Kant), but also their shared admiration of Brahms. That Ives wrote atonally and experimented with tone rows in advance of Schoenberg is an interesting aside, but the "substance" (or "idea"), if you will, is that both developed new aesthetics of some similarity in expression and much commonality in background.

"Ives and Stravinsky: Two Angles on 'the German Stem'" is, for me, the most fascinating essay in the book. Ives wrote in bitonality some years before "Petroushka" and had been accused of "borrowing" ideas from "The Rite of Spring" well before the true facts emerged. But ultimately more interesting are the parallels between the two in terms of their musical educations and usage of source materials, and their inveterate editing of existing works. Of course, their motivations for doing so differed: While Ives was editing largely to achieve performance, Stravinsky was forever "scrubbing his works clean" of earlier influences.

When study began on Ives's manuscripts (now complete, thanks to James Sinclair's "A Descriptive Catalog of the Music of Charles Ives"), a treasure trove of "anticipations" - atonality, tone rows, bitonality, polyrhythms, collage, impressionism, minimalism, aleatorism and virtually every other "ism" - was found. While this book does not cover everything, the essays on Ives and Schoenberg and Ives and Stravinsky are worth the price of admission. But I do wish that the editors had included contributions on Ives and Debussy and Ives and Bartók (despite Burkholder's apology for not having done so in the Introduction). A very minor cavil for an otherwise remarkable collection of essays.

Bob Zeidler ... Read more


23. Charles Ives: The Ideas Behind the Music
by J. Peter Burkholder
 Paperback: 182 Pages (1987-09-10)
list price: US$11.00
Isbn: 0300038852
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24. A Union of Diversities: Style in the Music of Charles Ives
by Larry Starr
 Hardcover: 224 Pages (1992-03)
list price: US$38.00 -- used & new: US$3.98
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Asin: 0028724658
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25. Charles Ives: A Guide to Research (Routledge Musical Bibliographies)
by Gayle Sherwood
Hardcover: 176 Pages (2002-06-28)
list price: US$115.00 -- used & new: US$95.81
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Asin: 081533821X
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Editorial Review

Book Description
All the essential bibliographic information on this Connecticut composer's scores, life and writings compiled in one volume that all American music scholars will want to own. ... Read more


26. Charles Ives: A Bio-Bibliography (Bio-Bibliographies in Music)
by Geoffrey Block
Hardcover: 437 Pages (1988-09-27)
list price: US$107.95 -- used & new: US$107.95
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Asin: 0313254044
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Editorial Review

Book Description
This comprehensive work reflects the renewed interest and recognition of Charles Ives's music, and it gathers into one volume previously scattered and hard-to-find material by and about the composer. The musical and historical significance of one of America's most famous twentieth-century composers is represented in a substantively annotated, discerning and critical bibliography that includes a foreword by the noted Ives scholar, J. Peter Burkholder. The book begins with an explanation of the scope, organization, and rationale of the material presented and provides an overview and discussion of the current status of Ives scholarship. This is followed by a biographical sketch, a catalog of works and performances, and a complete discography of all recordings in print as of 1985. The bibliography consists of four major sections devoted to collections and catalogs, biographical and aesthetic articles, and reviews and critical evaluations of Ives and his contemporaries; the final section, on Ive's work, is arranged according to the genres of orchestral and band music, chamber music, keyboard music, choral and partsongs, and songs, following John Kirkpatrick's widely used manuscript categorization. The annotations on several hundred books, essays, and reviews offer a historical perspective of the critical reception of Ives's music, tracing its development from obscurity to crusade to fad, to its present secure place in the repertoire. The extensive appendixes and indexes provide, in a conveniently centralized format, lists of materials not found in standard indexes or cited in earlier studies; they make accessible many items that appear in relatively obscure journals or archives. This definitive sourcebook will greatly facilitate further study and inspire new research on one of today's most controversial musical figures. It will be of great interest to musicologists, Ives scholars, and students of twentieth-century American music. ... Read more


27. The Life of Charles Ives (Musical Lives)
by Stuart Feder
Hardcover: 214 Pages (1999-09-28)
list price: US$85.00 -- used & new: US$70.51
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Asin: 0521590728
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Editorial Review

Book Description
Ives' life (1874-1955) spanned two centuries; he grew up in the nineteenth and composed chiefly in the twentieth. His nostalgia for a simpler life in the New England town of his youth is revealed in his frequent musical quotation of songs of that earlier time: parlor and patriotic songs, hymns and gospel music that he learned from his father, a village bandmaster, and the most important influence on his life and music. This book clarifies the complexity of the man and his music--music that is uniquely autobiographical and that itself illuminates the narrative. ... Read more


28. Charles Ives and His America
by Frank R. Rossiter
 Hardcover: 420 Pages (1975-11)
list price: US$15.00
Isbn: 0871406101
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29. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing
by J. Peter Burkholder
Hardcover: 568 Pages (1995-11-29)
list price: US$50.00
Isbn: 0300056427
Average Customer Review: 5.0 out of 5 stars
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Editorial Review

Book Description
Written by the eminent Charles Ives scholar J. Peter Burkholder, this book is the first detailed, panoramic examination of Ives`s compositional practices and techniques of borrowing material from his own and other people`s music. ... Read more

Customer Reviews (1)

5-0 out of 5 stars Extremely important book about Ives
J. Peter Burkholder's book "All Made of Tunes" is one of the most important books about Ives's music.Burkholder's book exhaustively surveys Ives's music, identifying many ways in whichIves borrowed existing tunes (hymns, popular tunes, patriotic tunes, etc).There are many musical examples that support Burkholder's arguments, and the book also has one of the best bibliographies on Ives out there.For anyone with some musical training who's interested in how Ives borrowed tunes, this book is essential. ... Read more


30. The Charles Ives Tune Book (Bibliographies in American Music, No 14)
by Clayton W. Henderson
 Hardcover: 292 Pages (1990-11)
list price: US$50.00
Isbn: 089990050X
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31. An Ives Set
by Joseph Noble
 Paperback: Pages (2006-01)
list price: US$12.00
Isbn: 1889098094
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32. Ives: A Survey of the Music (Isam Monographs)
by H. Wiley Hitchcock
 Paperback: 98 Pages (1983-01)
list price: US$10.00
Isbn: 0914678213
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33. Angels of Reality: Emersonian Unfoldings in Wright, Stevens, and Ives
by David Michael Hertz
 Hardcover: 376 Pages (1993-04-23)
list price: US$39.00 -- used & new: US$39.00
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Asin: 080931746X
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Book Description

David Michael Hertz demonstrates how three major American artists—Frank Lloyd Wright, Wallace Stevens, and Charles Ives—were influenced by Emerson’s nineteenth-century transcendentalism. By focusing on the reflective statements of the artists themselves, Hertz shows that Emerson’s belief that all things —including matter and spirit—are in flux had direct bearing on the form and content of their works.



Hertz writes the book as a meditation on the condition of the artist in America, including biographical and historical information as well as his own interpretations of the three artists’ works. In part 1, he examines the emerging creative mind of the architect, poet, and composer, citing Emerson as the central figure who, through his essays, influenced each of them. By tracing their development as powerful and original thinkers, Hertz examines the processes that enabled them to become unique. In part 2, Hertz connects Emerson, Wright, Stevens, and Ives through a shared ideology, evident both in their critical statements and in their creative work. He shows how all three artists had specific, documented knowledge of Emerson’s major works. Their pragmatism, their preoccupation with the primacy of the senses, their love for analogy and loose metaphor, their dedication to individuality and self-reliance, and their eclecticism and conception of originality were shared traits and beliefs gleaned from Emerson.

... Read more

34. EVOLVING KEYBD STYLE CHAS (Outstanding Dissertations in Music from British Universities)
by Alexander
 Hardcover: 245 Pages (1989-09-01)
list price: US$81.00
Isbn: 0824001850
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35. What Charlie Heard
Hardcover: 40 Pages (2002-03-18)
list price: US$17.00 -- used & new: US$9.70
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Asin: 0374382921
Average Customer Review: 5.0 out of 5 stars
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Editorial Review

Book Description

The extraordinary story of the composer Charles Ives.

"Sometimes little Charlie lay in his crib just listening. He heard
his mother’s long dress as she moved around his room. He heard big clocks and little clocks. He heard wagons and horse hooves. He heard dogs and crickets and the church bell next door."

Charlie listened all through his boyhood, and as he grew into a man, he found he wanted to re-create in music the sounds that he heard every day. But others couldn’t hear what Charlie heard. They didn’t hear it as music – only as noise. In this daring and original book, Mordicai Gerstein graphically translates the audible into the visible – filling his pictures with noise – to tell the story of Charles Ives (1874–1954), a great musical innovator who let neither criticism nor public scorn keep him from composing music that expressed all that he heard in the world. He was finally recognized with a Pulitzer Prize in 1947.
... Read more

Customer Reviews (7)

5-0 out of 5 stars Are Your Ears Wide Open?
BONG! KABLAM! squeak. Tick-Tock. Splash. VROOM!Does this sound like music to you?Maybe your ears aren't wide open like Charlie's were.He was born that way.

Charlie Ives was a famous music composer.His talent came from his father who played a trumpet out the window just to announce Charlie's birth.Charlie experimented with mixing noises to make a different kind of music.When he was a little boy, he played the piano to make the sounds of a huge thunderstorm.After he grew up, he tried to make his music sound like the noises he heard all around him.He thought his music was wonderful but other people despised it and thought it was weird.We listened to it and found it to be inspiring.

Read this book to learn more about a man who didn't let other people change his mind about his music.Recommended formusic lovers of all ages who understand that ruckus can be musical and who would be happy with wide open ears like Charlie's.

5-0 out of 5 stars "If I had my own son..."
(sung to the melody of "If I were a rich man...")

Why, I'd be reading him this splendid illustrated children's book!

What on earth is an heirless geezer like me doing, reviewing a children's book? Well, that's a reasonable question. The only sensible answer that I can come up with is that I'm simply somewhere in the middle of my second childhood, "up to my eyeballs in Ives."

Mordicai Gerstein prefaces this enjoyable children's book with the statement "Everything I know about Charles Ives I learned from listening to his music, and from my dear friend, Jan Swafford, whose epic biography, 'Charles Ives: A Life with Music,' was the main source and inspiration for this book." And so it is that Jan Swafford has also been the main source and inspiration for my own second childhood with Charlie Ives. I can actually date my "second childhood"study of the life and music of Charlie to the time I was reading a borrowed copy of his Ives biography while awaiting my own copy.

The narrative text of "What Charlie Heard" (all accurate, and admirably complete, by the way) is quite brief; probably not much more than a few hundred words in total. (While no expert on the matter, I believe that the narrative can be read by a child of 7 or 8. In fact, I provided a copy of this book to a friend's son for his 8th birthday. But I wouldn't consider him "average" by any definition; very precocious would be more like it. Hopefully he didn't find it to be boring.)

Is it possible that a book so brief in its narrative text can actually "tell" the story about Charlie Ives and his life with music, with all of its "ups" and "downs"? Sure it can! All one needs to do is to pay heed to the remarkable illustrations, and to take the time necessary for pulling out all of the clues hidden in these illustrations. And, while it isn't necessarily possible to figure out from the narrative and the illustrations just what Charlie Ives's music sounds like, the youthful reader should certainly come away with the expectation that the music sounds "different," given how it was that pretty much everything in Charlie's life and environment found its way into his music in one form or another. And that may be "half the battle," as they say, toward an early appreciation of America's greatest composer.

I know-rather directly-that Jan Swafford admires Mordicai Gerstein's book on Ives as much as Gerstein admires Swafford's. So I just had to take a look at it. (I never did have an opportunity to see the earlier copy that had been a birthday present; it was a "drop ship.") Now I've got my own copy, I've seen and read it, and I'm impressed. But what next?

Well, given the circumstances, perhaps I'll just read this really neat book to my cat. He's about the right age in "human years": between 7 and 8 as I write this. And he's listened to Charlie's music along with me, without raising a noticeable fuss.

And his name happens to be Charlie. And, no, it's no accident. :-)

Bob Zeidler

5-0 out of 5 stars A Wonderfull Book
This a great book filled with lot's of noise but if you open your ears lide Charlie did you'll hear not only noise but music.
Charlie Ive's is a boy who hears everything as music wether it's the sirens of a firetruck driving by or the drip drop of rain on the ground. Charlie loved music and so did his father his father was a conducter when he would conduct a band Charlie would make noise. charlie grew up and wrote his own music. When charlie would play it some people got mad and said this is not music this is noise. Charlie would say if you open your ears you will hear what I hear.
I'm not going to spoil the rest of the book for you. But maybe if you open your ears you'll hear what Charlie heard, not noise, but music.

5-0 out of 5 stars Introduction and Explanation
I once heard an organist describe Charles Ives "America" in this way--a small town on the Fourth of July, where every band wants to perform in the parade, so they all agree to play the one song they know: 'America.'But they all play it differently. Ives's arrangment depicts the infinite complexity of all the bands' variations.This book not only show where he might have gotten an inspiration for this piece, but for all his other music also.
However, I think the most eloquent illustration is what Charlie heard when he got the news that his father had died.The depiction of total silence is a stark and effective contrast to the cacaphony of the rest of the book.This book can be used to introduce Ives' music to those unfamiliar with it, to explain it to those who don't understand it, or to increase the enjoyment of someone who already appreciates it.

5-0 out of 5 stars Listen...Music is Everywhere.....
"Charles Ives was born with his ears wide open.The very first sound he heard might have been his father's trumpet announcing his birth to the town of Danbury, Connecticut."During his life, no matter where he was or what he was doing, Charlie heard the wonder of music in the everyday sounds around him.It could be the rustle of his mother's dress, the tick of a clock, the hooves of horses clip-clopping down the street, or the ice cream man's bell.Charlie heard music in a bat hitting a baseball, the rumble of thunder, the applause and cheers of a crowd, and a train's bell and whistle.As he got older, Charlie wrote "music about things he'd heard or seen, or feelings he had.But sometimes it was just to hear how different notes would sound together."Charlie grew up, graduated from college, got married, and started a successful insurance company.But he never stopped writing his music."It was a new kind of music.It didn't have to be pretty, it had to be true to his feelings...But most people didn't know how to listen to it.Some thought it was a joke.Others just heard noise and got angry."Finally, when Charles Ives was very old, musicians began to play and perform his music, and people began to hear what Charlie heard."Maybe, if you open your ears like Charlie, you can hear the beautiful, funny, sad, joyous, amazing music he heard..."Mordecai Gerstein has written a spectacular introductory biography that really captures the essence of Charles Ives and his music.His simple, straightforward text is both engaging and informative.But it's Mr Gerstein's creative and inventive artwork that really makes this book stand out and sparkle.His busy and detailed illustrations are packed with sound effects, swirling around the pages, in all shapes, sizes, and colors.The visual becomes the audible, and readers will begin to "hear" the magic of music in the world around them, just like Charlie.Perfect for youngsters 8-12, What Charlie Heard is a marvelous, evocative story about an extraordinary composer, the entire family can savor, share, and enjoy together.And once you've finished reading, it's time to listen to some of Charles Ives' music, so that you can hear what Charlie heard. ... Read more


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