S. Reception Studies and Related Scholarship

Cahill, Greg. “Editor’s Note.” Strings, Vol. 19, No. 3 (2004): 8.

Gann, Kyle. “Music: “Call It Special - American Influences Advance on the European Continent.”” The Village Voice, Vol. 49, No. 18 (2004): 93.

Eidenbenz, Michael. “Zum ernsthaften Komponisten geweiht.” Dissonanz (2004): 55-56.

Borum, Poul. “Musikkens Borum.” Dansk Musik Tidsskrift, Vol. 70, No. 5 (1996): 160-166.

Téllez, José Luis. “Charles Ives: Las Paradojas del Profeta.” Scherzo: Revista de Música, Vol. 19 (2004): 110-115.

McGinness, John. “How Modernist Criticism Failed Charles Ives.” Music Theory Spectrum 28/1 (Spring 2006): 99-109.

Paul, David C. “Charles Ives, Autonomy, and Cold War Politics.” Paper presented at the American Musicological Society Annual Meeting. Washington, D.C., October 29, 2005.

John Heiss, J. Peter Burkholder, Richard Dyer, Vivian Perlis, and Jan Swafford. “Ives and His Time and Ours.” Panel at at Charles Ives and His World, as Tribute to Iconoclastic American Com-poser. New England Conservatory of Music, Jordan Hall and Williams Hall, Boston, Massachusetts, March 13--17, 2005.

Hale, William. “The Difficulty of Ives.” Paper presented at Charles Ives and His World, as Tribute to Iconoclastic American Com-poser. New England Conservatory of Music, Jordan Hall and Williams Hall, Boston, Massachusetts, March 13--17, 2005.

Flender, Reinhard. “Charles E. Ives: Genie oder Maverick? Anmerk-ungen zum Schaffensprozeß und zur Rezeptionsgeschichte.” In Charles Ives 1874-1954: Amerikanischer Pionier der Neuen Musik, edited by Hanns-Werner Heister and Werner Kremp, 25-34. Atlantische Texte, Vol. 23. Trier, Germany: Wissenschaftlicher Verlag Trier, 2004.