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Comment: 1969 Paperback facsim., music, ports. . x, 253 p. Former Library book. "First issued as an Oxford University Press paperback, with additional material, 1969." ; Bibliography: p. 244-247. "A list of the recorded compositions of Charles Edward Ives": p. 228-243. Shows some signs of wear, and may have some markings on the inside. 100% Money Back Guarantee. Shipped to over one million happy customers. Your purchase benefits world literacy!
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Charles Ives and His Music, Paperback – August, 1969


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Product Details

  • Paperback
  • Publisher: Oxford Univ Pr (T) (August 1969)
  • ISBN-10: 0195007808
  • ISBN-13: 978-0195007800
  • Product Dimensions: 7.9 x 5.3 x 0.6 inches
  • Shipping Weight: 6.4 ounces
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #2,635,558 in Books (See Top 100 in Books)

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Format: Paperback Verified Purchase
Still the classic benchmark, the original standard for Ives literature, this little volume holds up remarkably well after the constant drubbing of the composer and his link to Ives by many in American musicology. Cowell deserves to be taken at his word; his enthusiasm is obvious, something all to often mistaken for deliberate artificially-puffed up promotion--for those who look more closely, it becomes clear after the dust has settled that Cowell never deliberately exaggerated or made up anything.

A recommended introduction to Ives and his music.
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Format: Paperback
Composer Henry Cowell and his musicologist wife published this book in 1955, shortly after Ives' 1954 death. They begin with the statement, "Nobody today writes just like Charles Ives because no one lives in the same musical and philosophical world he did. He has taught no pupils, he has founded no 'school.' At the same time, nobody today seems to be able to think up any kind of musical behavior that cannot be found, sometimes in embryo, sometimes fully worked out, in the music of Ives... Ives can, in fact, be shown to be one of the four great creative figures in music of the first half of the twentieth century. The others are Schoenberg, Stravinsky, and Bartok." (Pg. 3-4)

They summarize, "While Ives's music is not always dissonant, any more than men always fight, still the hearers he hopes for are the kind who take delight in strong sound and who respond, with vigor equal to his own, to big bold ideas. The mere mention of certain composers sets Ives to humming sardonically under his breath, to the theme of the Surprise Symphony: 'PRET-ty LIT-tle SUG-ar PLUM SOUNDS...' That man's music, as far as Ives is concerned, is ... Easy music for the sissies, for the lilypad ears of Rollo!" (They add, "Rollo is an imaginary gentleman... one of those lily-livered weaklings who cannot stand up and receive the full force of a dissonance like a man"; pg. 9-10)

Ives confided, "As a boy I was partially ashamed of music... Hasn't music always been an emaculated art? Mozart helped too much. Father felt that a man would keep his music interest stronger, cleaner, bigger and freer if he didn't try to make a living out of it... if (a man) has a nice wife and some nice children, how can he let the children starve on his dissonances?
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