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Bibliography

Genres

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I. Ives as Author
II. Reference Materials
III. Book-Length Studies
IV. Individual Studies by Genre
V. General Music Studies
VI. Topical Studies
VII. Entries in Larger Volumes
VIII. Dissertations, Theses, and Baccalaureate Essays
IX. Festivals, Conferences, and Concert Series Dedicated to the Music of Charles Ives
X. Editing Practices and Articles Regarding Published Editions
XI. Reviews of Premieres, Significant Performances, and Recordings
XII. Interdisciplinary Performances with Ives’s Music
XIII. Ives in Literature
XIV. Websites
XV. Television Broadcasts, Films, and Videocassettes
XVI. Photographs and Artwork
XVII. Radio Broadcasts

Hepokoski, James

Year: 1994
Complete Citation:
Hepokoski, James. “Temps Perdu. Revolutionary or Reactionary?” Musical Times 135 (1994): 746-751.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Herchet, Jorg

Year: 1993
Complete Citation:
Herchet, Jorg. “Polifonia es tarea.” Translated by Rutilo Silva. Pauta: Cuadernos de teoria y critica musical 12/46 (April-June 1993): 62-68.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Hiekel, Jörn Peter

Year: 1999
Complete Citation:
Hiekel, Jörn Peter. “Komponierte Erfahrungsräume: Zeit- Und Wirklichkeitsbezüge in Der Musik.” Neue Zeitschrift Für Musik (1991-), vol. 160, no. 5 (1999): 10-15.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Hwang, Mi Kyung

Year: 2010
Complete Citation:
Hwang, Mi Kyung. “Charles Ives’s Variations on “America”: A Musical Analysis Based upon Jazz Elements.” The Organ, Vol. 89 (2010): 26-35.
Source: Magazine
VI. Topical Studies
G. Music Theory Analyses

Iverson, Jennifer

Year: 2011
Complete Citation:
Iverson, Jennifer. “Creating Space: Perception and Structure in Charles Ives’ Collages.” Music Theory Online, Vol. 17 (2011).
Source: Journal (online)
VI. Topical Studies
G. Music Theory Analyses

Josephson, Nors S.

Year: 1978
Complete Citation:
Josephson, Nors S. “Charles Ives: Intervallische Permutationen im Spätwerk.” Zeitschrift für Musiktheorie 9/2 (1978): 27-33.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Kramer, Jonathan Donald

Year: 2001
Complete Citation:
Kramer, Jonathan Donald. “Concetti postmoderni di tempo musicale.” Analisi 12 (May 2001): 5-21.
Notes:

Regarding “Putnam's Camp.” Includes musi-cal examples, comments, and tables.

Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Kunze, Stefan

Year: 1974
Complete Citation:
Kunze, Stefan. “Raumvorstellungen in der Musik.” Archiv für Musikwissenschaft 31/1 (1974): 1-21.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Lambert, J. Philip

Year: 1990
Complete Citation:
Lambert, J. Philip. “Interval Cycles as Compositional Resources in the Music of Charles Ives.” Music Theory Spectrum 12/1 (Spring 1990): 43-82.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses
Year: 1990
Complete Citation:
Lambert, J. Philip. “Aggregate Structures in Music of Charles Ives.” Journal of Music Theory 34 (1990): 29-55.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses
Year: 1991
Complete Citation:
Lambert, J. Philip. “Ives and Counterpoint.” American Music 9, No. 2 (Summer 1991).
Source: Journal
VI. Topical Studies
G. Music Theory Analyses
Year: 1993
Complete Citation:
Lambert, J. Philip. “Toward a Theory of Chord Structure for the Music of Charles Ives.” Journal of Music Theory 37/1 (Spring 1993): 55-83.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Mesquita, Marcos

Year: 2015
Complete Citation:
Mesquita, Marcos. “Charles Ives and the Superposition Technique.” Musurgia, vol. XXII, no. 2 (2015): 71.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Perison, Harry

Year: 1974
Complete Citation:
Perison, Harry. “The Quarter-Tone System of Charles Ives.” Current Musicology, no. 18 (1974): 96-104.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Reinhard, Johnny

Year: 2005
Complete Citation:
“Extended Pythagorean Tuning.” New Music Box. New Music USA, December 21, 2005. www.nmbx.newmusicusa.org.
Notes:

Reinhard cites writings in which Ives identifies usual enharmonic notes [e.g., C# and Db) as being different.

Source: Online article
VI. Topical Studies
G. Music Theory Analyses

Sakae, Yoneda

Year: 1988
Complete Citation:
Sakae, Yoneda. “Charles Ives no ongakukozo ni okeru de-composition.” Ongakugaku 34/2 (1988): 97-111.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Schoffman, Nachum

Year: 1981
Complete Citation:
Schoffman, Nachum. “Serialism in the Works of Charles Ives.” Tempo: A Quarterly Review of Modern Music, no. 138 (September 1981): 21-32.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses
Year: 1986
Complete Citation:
Schoffman, Nachum. “Ives: un exemple de polyphonie complexe.” Contrechamps 7 (1986): 155-171.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses

Schuller, Gunther

Year: 1986
Complete Citation:
Schuller, Gunther. “Form, Content, and Symbol.” In Musings: The Musical Worlds of Gunther Schuller, 275-276. New York, NY: Oxford University Press, 1986.
Notes:

Discusses absolute music and program music.

Source: Chapter in Book
VI. Topical Studies
G. Music Theory Analyses

Scott, Ann Besser

Year: 1994
Complete Citation:
Scott, Ann Besser. “Medieval and Renaissance Techniques in the Music of Charles Ives: Horatio at the Bridge?” Musical Quarterly 78/3 (Fall 1994): 448-478.
Source: Journal
VI. Topical Studies
G. Music Theory Analyses