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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

Abraham, Gerald

Year: 1979
Complete Citation:
Abraham, Gerald. The Concise Oxford History of Music, 824. London, United Kingdom: Oxford University Press, 1979.
Source: Book
VII. Entries in Larger Volumes
A. Textbook Accounts

Alexander, J. Heywood

Year: 2002
Complete Citation:
Alexander, J. Heywood. “Charles Ives.” In To stretch our ears: a documentary history of America's music. New York, NY: W.W. Norton, 2002.
VII. Entries in Larger Volumes
A. Textbook Accounts

Austin, William F.

Year: 1966
Complete Citation:
Austin, William F. Music in the Twentieth Century, from Debussy through Stravinsky. New York, New York: W.W. Norton, 1966.
Source: Book
VII. Entries in Larger Volumes
A. Textbook Accounts

Austin, William W.

Complete Citation:
Austin, William W. Music in the 20th Century, 57-61. New York, NY: W.W. Norton, 1966.
Source: Book
VII. Entries in Larger Volumes
A. Textbook Accounts

Baron, Carol K.

Year: 1992
Complete Citation:
Baron, Carol K. “George Ives’s Essay in Music Theory: An Introduction and Annotated Edition.” American Music 10/3 (Fall 1992): 239-288.
Source: Journal
II. Reference Materials
F. Selected Archival Materials
Year: 1998
Complete Citation:
Baron, Carol K. “Some Theoretical Premises in Charles Ives's Music.” Lecture, University of Nevada, Reno, Nevada, February 1998.
Source: Lecture
VI. Topical Studies
G. Music Theory Analyses
Year: 2000
Complete Citation:
Baron, Carol K. “New Ives Sources.” Institute for Studies in American Music Newsletter 29/2 (Spring 2000).
Source: Journal
II. Reference Materials
F. Selected Archival Materials

Bellamann, Henry

Year: 1927
Complete Citation:
Bellamann, Henry. 1927. “Program Notes.” Pro Musica Concert, January 29. Charles Ives Pa-pers, Mss.14, folder 2, Box 50. Irving S. Gilmore Music Library, Yale University. New Haven.
Source: Program Notes
II. Reference Materials
F. Selected Archival Materials

Berger, Arthur

Year: 1933
Complete Citation:
Berger, Arthur. “Charles Ives,” June 4, 1933. Typescript for Pan American Concert. Charles Ives Papers. Mss. 14, folder 2, box 56. Irving S. Gilmore Music Library, Yale University. New Haven.
Source: Journal
II. Reference Materials
F. Selected Archival Materials

Bernstein, Leonard

Year: 1958
Complete Citation:
Bernstein, Leonard. “Thursday Evening Preview Scripts: Opening of the New York Philharmonic Season of 1958-1959,” October 2, 1958. Leonard Bernstein Collection, folder 13, box 75. Music Division, Library of Congress, Washington D.C.
Source: Preview Script
II. Reference Materials
F. Selected Archival Materials
Year: 1967
Complete Citation:
Bernstein, Leonard. “Young People’s Concerts Scripts: Charles Ives: American Pioneer,” 1967. February 23. Leonard Bernstein Collection, folder 04, box 111. Music Division, Library of Congress, Washington D.C.
Source: Program Script
II. Reference Materials
F. Selected Archival Materials

Bernstein, Martin and Martin Picker

Year: 1966
Complete Citation:
Bernstein, Martin and Martin Picker. “Contemporary American Music.” In An Introduction to Music, 525, 541-549. Third Edition. Englewood Cliffs, NJ: Prentice-Hall, 1966.
Notes:

Section on Charles Ives

Source: Chapter in Book
VII. Entries in Larger Volumes
A. Textbook Accounts

Brooks, William and Burkholder, J. Peter

Year: 1982
Complete Citation:
Brooks, William, and Burkholder, J. Peter. Typescript. “Books in Bigelow Ives’ Library and Identified by Him as Belonging to Charles Ives or His family.” Spring 1982, revised March 1984.
Source: Unpublished, 1982
II. Reference Materials
F. Selected Archival Materials

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

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
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
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

Chase, Gilbert

Year: 1966
Complete Citation:
Chase, Gilbert. “Composer from Connecticut.” In America’s Music: From the Pilgrims to the Present. 2nd ed., 403-28. New York, NY: McGraw Hill, 1966.
Source: Chapter in Book
Reprints:

Chase, Gilbert. “Composer from Connecticut.” In <i>America’s Music: From the Pilgrims to the Present</i>. 3rd ed. Urbana, IL: University of Illinois Press, 1987: 429-446.

VII. Entries in Larger Volumes
A. Textbook Accounts
Year: 1966
Complete Citation:
Chase, Gilbert. “America’s Music: From the Pilgrims to the Present.” New York: McGraw-Hill Book Company, 1966.
Source: Book
VII. Entries in Larger Volumes
A. Textbook Accounts

Christiansen, Erik

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