Image
Complete Citation:
Baron, Carol K. “Some Theoretical Premises in Charles Ives's Music.” Lecture, University of Nevada, Reno, Nevada, February 1998.
Bibliography
Genres
Baron, Carol K.
Year: 1998
Source: Lecture
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Burger, Peter
Year: 1974
Complete Citation:
Burger, Peter. Theorie der Avantgarde. Frankfurt am Main: Suhrkamp, 1974.Source: Book
Reprints:
Burger, Peter. <i>Theorie der Avantgarde</i>. Frankfurt am Main: Suhrkamp, 2013.
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Burkholder, J. Peter
Year: 1990
Complete Citation:
Burkholder, J. Peter. “The Critique of Tonality in the Early Experimental Music of Charles Ives.” Music Theory Spectrum 12/2 (Fall 1990): 203-223.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Year: 1995
Complete Citation:
Burkholder, J. Peter. “Rule-Breaking as a Rhetorical Sign.” In Festa Musicologica: Essays in Honor of George J. Buelow, edited by Thomas J. Mathiesen and Benito V. Rivera. Stuyvesant, NY: Pendragon, 1995.Source: Chapter in Book
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Year: 2012
Complete Citation:
Burkholder, J. Peter. “Stylistic Heterogeneity and Topics in the Music of Charles Ives.” Journal of Musicological Research 31 (2012): 166-199.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Christiansen, Erik
Year: 1996
Complete Citation:
Christensen, Erik. The Musical Timespace: A Theory of Music Listening. Alborg, Denmark: Alborg University Press, 1996.Source: Book
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Year: 1996
Complete Citation:
Christensen, Erik. “Nota-tion Examples and Graphs.” In The Music Timespace: A Theory of Music Listening. Volume 2. Alborg, Denmark: Alborg University Press, 1996.Notes:
<i>The Unan-swered Question </i>and <i>Central Park in the Dark </i>are chosen for consider-ation. Each is analyzed by five basic listening dimensions: timbre, pulse, pitch height space, movement, and intensity.
Source: Book
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Cowell, Henry
Year: 1954
Complete Citation:
Cowell, Henry. “The Music and Motives of Charles Ives." Center 1 (August-September 1954): 2-5.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Danner, Gregory
Year: 1984
Complete Citation:
Danner, Gregory “Ives’ Harmonic Language.” Journal of Musicological Research 5/1-2 (1984): 237-249.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Debruyn, Randall Keith
Year: 1975
Complete Citation:
Debruyn, Randall Keith. “Contrapuntal Structure in Contemporary Tonal Music: A Preliminary Study of Tonality in the 20th Century.” D.M.A. dis-s., University of Illinois, 1975.Source: D.M.A. Dis-sertation
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Dickinson, Peter
Year: 1996
Complete Citation:
Dickinson, Peter. “Style-modulation as a compositional technique: an inaugural lecture.” London, United Kingdom: Goldsmiths, University of London, 1996.Source: Book/Lecture
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Dobos, Lora Gingerich
Year: 1986
Complete Citation:
Dobos, Lora Gingerich. “A Technique for Melodic Motive Analysis in Music of Charles Ives.” Music Theory Spectrum 8 (1986): 75-93.Notes:
Uses Sonata No. 4 for violin and piano for her example.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Donner, Gregory
Year: 1984-1985
Complete Citation:
Donner, Gregory. “Ives’s Harmonic Language.” Journal of Musicology 5 (1984-1985): 237-249.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Drew, James
Year: 1968
Complete Citation:
Drew, James. “Information, Space and a New Time-Dialectic.” Journal of Music Theory 12/1 (Spring 1968): 86-103.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Forte, Allen
Year: 1992
Complete Citation:
Forte, Allen. “The Diatonic Looking Glass, or An Ivesian Metamorphosis.” Musical Quarterly 16/3 (Fall 1992): 355-382.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Gardner, John
Year: 1967
Complete Citation:
Gardner, John. “Testing Genius by Analysis.” Composer No. 24 (Summer 1967).Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Gingerich, Lora Louise
Year: 1986
Complete Citation:
Gingerich, Lora Louise. “A Technique of Melodic Motivic Analysis in the Music of Charles Ives.” Music Theory Spectrum 8 (1986): 75-93.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Year: 1986
Complete Citation:
Gingerich, Lora Louise. “A Technique for Melodic Motivic Analysis in the Music of Charles Ives.” Music Theory Spectrum 8 (1986): 75-93.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Helms, Hans G.
Complete Citation:
Helms, Hans G. “Charles Ives—Hommage zur 100. Geburtstag; 1. Zur Physiognomie eines revolutionären Komponisten und Citoyen; 2. Zum Phänomen der Ungleichzeitigkeit kompositoricher Konzeptionen und ihrer technichen Realiserbarkeit.” Student Musicologists at Minnesota 6 (1975-76): 95-127.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses
Year: 1966
Complete Citation:
Helms, Hans G. “Über statistisches Komponieren bel Charles Ives.” Neue Zeitschrift für Musik 127, no. 3 (March 1966): 90-93.Source: Journal
VI. Topical Studies
G. Music Theory Analyses
G. Music Theory Analyses