G. Music Theory Analyses

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.

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.

Lambert, J. Philip. “Interval Cycles as Compositional Resources in the Music of Charles Ives.” Music Theory Spectrum 12/1 (Spring 1990): 43-82.

Lambert, J. Philip. “Aggregate Structures in Music of Charles Ives.” Journal of Music Theory 34 (1990): 29-55.

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

Dickinson, Peter. “Style-modulation as a compositional technique: an inaugural lecture.” London, United Kingdom: Goldsmiths, University of London, 1996.

Schoffman, Nachum. “Serialism in the Works of Charles Ives.” Tempo: A Quarterly Review of Modern Music, no. 138 (September 1981): 21-32.

Perison, Harry. “The Quarter-Tone System of Charles Ives.” Current Musicology, no. 18 (1974): 96-104.

Josephson, Nors S. “Charles Ives: Intervallische Permutationen im Spätwerk.” Zeitschrift für Musiktheorie 9/2 (1978): 27-33.

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.