E. Comparisons and Relationships with Other Composers, Artists, and Writers

Bell, Michael. “CD Reviews: “Variations on America.”” Organists’ Review, Vol. 95, No. 4 (2009): 83.

Kramer, Lawrence. ““S one strane enformelske muzike”: nostalgija, zastarevanje i avangarda.” Muzikologija, No. 6 (2006): 43-62.

Thurmaier, David. ““A Disturbing Lack of Musical and Stylistic Continuity”? Elliott Carter, Charles Ives, and Musical Borrowing.” Current Musicology, No. 96, (2013): 97-124.

Buhles, Günter. “Amerikanische Individualisten: Komposition--von Charles Ives und Duke Ellington bis Thelonious Monk und John Cage.” Jazz Podium, Vol. 50, No. 1 (2001): 12-14.

Vinay, Gianfranco. “Le “son américain” entre utopie et tradition: á l'origine de la musique expérimentale américain (Ives et Cowell).” Revue Belge de Musicologie: Belgisch Tijdschrift voor Muziekwetenschap, Vol. 52 (1998): 91-100.

Garda, Michela. “Gregor Herzfeld: “Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik: Charles Ives bis La Monte Young.”” Il Saggiatore Musicale, Vol. 18, No. 1-2 (2011): 385-387, 392.

Green, Andrew. Books: Review of Charles Ives and Aaron Copland: A Listener’s Guide, by Daniel Felsenfeld. Classical Music (2005): 55.

Gresser, Clemens. “Besprechungen: Gregor Herzfeld “Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik: Charles Ives bis La Monte Young.”” Musiktheorie, Vol. 24, No. 4 (2009): 375-379.

Owens, Tom. “Concord and Dissonance: The Relationship of Peter Yates and Charles Ives and the Role of Los Angeles in the Reception of Ives's Music.” Paper presented at Joint Meeting of Amer-ican Musicological Society and Society for Music Theory. November 3, 2006.

Paul, David C. “From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of Henry and Sidney Cowell.” Journal of the American Musicological Society 59/2 (Summer 2006): 399--457.