This thesis examines a collection of three songs, "In Flanders Fields," "He Is There!," and "Tom Sails Away," written by Charles Ives in 1917, from primarily a literary perspective involving Transcendentalism and intertextuality. Ives's aesthetic builds upon the principles of Transcendentalism. I examine these songs using the principles outlined by the nineteenth-century Transcendentalists, and Ives's interpretations of these beliefs. Another characteristic of Ives's music is quotation. "Intertextuality" describes an interdependence of literary texts through quotation. I also examine these songs using the principles of intertextuality and Ives's uses of intertextual elements. Familiarity with the primary sources Ives quotes and the texts they suggest adds new meaning to his works. Transcendentalism and intertextuality create a greater understanding of Ives's conflicting views of the morality of war.

Thesis advisor: Jeremiah McGrann / The effect of transcendentalism on American composer Charles Ives (1874-1954) is examined in this study. Certain pieces in Ives' 114 Songs collection are musically analyzed to better understand Ives' interpretation of three main tenets of transcendentalism (the individual, the past, and nature). Scholarly criticism and a historical background of transcendentalism are discussed as well. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Music. / Discipline: College Honors Program.

Thesis (Ph. D.)--University of California, Santa Barbara. / Physical description of the original determined from an examination of the photocopy. Portfolio contains scores of Capriccio (36 leaves), Woodwind Quintet no. 2 (28 leaves), and Apotheosis, a suite in honor of J.S. Bach (24 leaves), all by Larry Lipkis. "8428621"--Added t.p. of photocopy. Includes bibliographical references (leaves 26-27).

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1971. / Issued with the author's original composition Three pieces for the new Zion. Vita. Includes bibliographical references (leaves 145-147).

A lecture recital was given on July 14, 1975. The violin sonatas of Charles Ives are a unique and innovative addition to the violin repertoire and capture the New England Transcendental movement of the early twentieth century. In addition to the lecture recital, three other public recitals were performed, including solo compositions for violin and chamber works including violin.

The purpose of this thesis is to give the prospective performer an insight into the content of the vocal solos of Charles Ives and to give the student and musicians in general an understanding of the musical devices employed by Ives and of his position as a song writer.

Jazz is a distinctive stylistic influence in twentieth-century American organ music. Organ music in the United States during this period may be classified into four diverse categories: German-influenced; French-influenced; program music; and new styles that include twentieth-century techniques, such as serialism, chance (aleatoric), atonality, and jazz. The organ is an ideal instrument for jazz performance since the organ can provide diverse timbres, such as reeds (clarinets, trumpets, and trombones), strings (violin, viola, and cello), and overtone-rich sounds from mutations and mixtures.This document presents an analysis of jazz elements in twentieth-century American organ works, especially focused on the following selected organ works: Charles Ives' Variations on "America" (1891), William Albright's Sweet Sixteenths: Concert Rag for Organ (1975), and William Bolcom's Sometimes I Feel, and Free Fantasia on "O Zion Haste" and "How Firm a Foundation" from Gospel Preludes, Book IV (1984). The first chapter introduces jazz, including its definition, historical background, and styles. The next four chapters discuss brief biographical material, musical styles, compositions of each composer, and comprehensive musical analysis of their selected organ works, including form, melody, harmony, rhythm, timbre, and registration.

Between approximately 1850 and 1936, the barrel organ was one of the most commonly heard instruments in the streets of New York and the frequent subject of written, visual, and musical accounts created by middle class authors and artists. The instrument's loud, wheezy tunes inspired heated debates that began in the nineteenth century and were often aligned with the broader social upheavals caused by Italian immigration. Despite their frequent differences in perspective, most written accounts characterized organ grinders as poor, uneducated, Italian immigrants. Musical representations of street music developed a similar proclivity to emphasize Italian alterity. As early as the 1850s, it was common to quote popular dance idioms to evoke street music, a trend that continued well into the early twentieth century in Tin Pan Alley songs. These strophic songs offered more elaborate portrayals of organ grinders, mimicking the dialect of Italian immigrants through clipped, misspelled syllables. Street musicians declined in the twentieth century, but such stereotypes continued to resonate strongly within fictive musical portrayals. In Charles Ives' From Hanover Square North, the clashing quotations of a gospel hymn aurally signify the program's commuters and organ grinder, whose music animates the scene similar to a tableau found within Nathaniel Hawthorne's novel The House of Seven Gables. In contrast to Ives' idealistic conception of street music, Charles Cadman's opera The Willow Tree depicts a murderous street musician whose association with pleasant, Italian folk music does little to belie his unstable actions. Mayor Fiorello La Guardia's 1936 decision to stop licensing organ grinders created a controversy that may have influenced representations of organ grinders in Marc Blitzstein's I've Got the Tune and the animated short Organ Grinder's Swing. The 1936 controversy suggested that not only were middle class audiences concerned with unprecedented waves of Italian immigration, they were also worried about an urban soundscape increasingly saturated with noise. It was these twin problems that led a class of educated New Yorkers to create meaning by reverting to ethnic, class-based stereotype.

No description available.

abstract: The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. However, Ives used previously existing material, often familiar hymn tunes, as the foundation for many of his art songs. If beginning students first are exposed to this borrowed material, such as a simple hymn tune, which should be well within even the most experienced singer's comfort range, they can then learn this tune first, as a more simplistic reference point, and then focus on how Ives altered the tunes, rather then having to learn what seems like an entirely new melody. In this way, Ives's art songs can become more accessible to less-experienced singers. This paper outlines a method for researching and learning the borrowed materials in Ives's songs that utilize them, and reviews materials already commonly used by voice teachers to help beginning students learn their music. By combining this method, which focuses on the borrowed materials, with standard practices teachers can then help their beginning students more easily learn and perform Ives's art songs. Four songs, from the set "Four Hymn Tune Settings" by Charles Ives are used to illustrate this method. / Dissertation/Thesis / D.M.A. Music 2012