G. Music Theory Analyses

Zierolf, Robert. “Discontinuity as the Principal Modern Element in
Ives’ Music.” Lecture, Meeting of the Central Midwest Theory Society Meeting and Great Plains Chapter of the College Music Society, Manhattan, KS, March 8, 1987.

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

Dobos, Lora Gingerich. “A Technique for Melodic Motive Analysis in Music of Charles Ives.” Music Theory Spectrum 8 (1986): 75-93.

Wood, James. “Microtonality: Aesthetics and Practicality.” Musical Times 127/1720 (June 1986): 328-330.

Donner, Gregory. “Ives’s Harmonic Language.” Journal of Musicology 5 (1984-1985): 237-249.

Searle, Humphrey. Twentieth Century Counterpoint, 124-126, 133. London, United Kingdom: Ernest Benn Limited, 1954.

Helms, Hans G. “Über statistisches Komponieren bel Charles Ives.” Neue Zeitschrift für Musik 127, no. 3 (March 1966): 90-93.

Cowell, Henry. “The Music and Motives of Charles Ives." Center 1 (August-September 1954): 2-5.

Hiekel, Jörn Peter. “Komponierte Erfahrungsräume: Zeit- Und Wirklichkeitsbezüge in Der Musik.” Neue Zeitschrift Für Musik (1991-), vol. 160, no. 5 (1999): 10-15.

Taruskin, Richard. “Hearing Cycles.” In On Russian Music, 1st ed., 340-356. Berkeley, CA: University of California Press, 2009.