| The Music of Charles Ives Contributor(s): Lambert, Philip (Author) |
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ISBN: 0300105347 ISBN-13: 9780300105346 Publisher: Yale University Press OUR PRICE: $33.66 Product Type: Paperback - Other Formats Published: September 1997 Annotation: With this innovative analysis of the music of Charles Ives, Philip Lambert fills a significant gap in the literature on one of America's most important composers. Lambert portrays Ives as a composer of great diversity and complexity who nevertheless held to a single artistic vision. "Philip Lambert's book is a fine study, well organized, meticulously executed, comprehensive, fascinating, and engagingly written."-Richard Parks "An excellent book for theoreticians and serious students of musical structure and analysis."-Choice |
| Additional Information |
| BISAC Categories: - Music | Individual Composer & Musician - Biography & Autobiography - Music | History & Criticism - General |
| Dewey: 780.92 |
| Series: Composers of the Twentieth Century Serie |
| Physical Information: 0.59" H x 6" W x 9" (0.85 lbs) 256 pages |
| Descriptions, Reviews, Etc. |
| Publisher Description: With this innovative analysis of the music of Charles Ives, Philip Lambert fills a significant gap in the literature on one of America's most important composers. Lambert offers the first large-scale theoretical study of Ives's repertoire, encompassing major works in all genres. He argues that systematic techniques governed Ives's compositional language and thinking about music, even in his unconventional and apparently unstructured pieces. He portrays Ives as a composer of great diversity and complexity who nevertheless held to a single artistic vision. Using modes of analysis for post-tonal music and approaches devised specifically for the study of Ives as well, the author explains the origin, evolution, and culmination of Ives's systematic methods. He discusses important aspects of the composer's early training, the relation between Ives's experimental and his concert music, Ives's fugal and canonic techniques as the basis for his systematic music, his paradigms of procedure and transformation, and pitch relations in Ives's music, particularly the unfinished Universe Symphony. Lambert refutes the popular image of Ives as a highly eccentric composer haphazardly casting about for arbitrarily regulated ways of generating musical material and instead portrays him as a keenly determined and resourceful artist who gradually discovered ever more powerful tools for creating remarkably original music. |