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All made of tunes : Charles Ives and the uses of musical borrowing

Verfasser/in: J Peter Burkholder
Verlag: New Haven : Yale University Press, ©1995.
Ausgabe/Format   Buch : EnglischAlle Ausgaben und Formate anzeigen
Datenbank:WorldCat
Zusammenfassung:
Charles Ives is famous for using borrowed material in his music. Almost two hundred individual works or movements, spanning his entire career and representing more than a third of his output, incorporate music by other composers or from his own previous work. In this book, the eminent Ives scholar J. Peter Burkholder identifies the different kinds of "quotations" in Ives's music, explores the complex musical,
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Gattung/Form: Sources
Name: Charles Ives; Charles Ives; Charles Ives; Charles Ives; Charles Ives; Charles Ives
Dokumenttyp: Buch
Alle Autoren: J Peter Burkholder
ISBN: 0300056427 9780300056426 0300102127 9780300102123
OCLC-Nummer: 32237536
Beschreibung: xii, 554 p. : ill. ; 24 cm.
Inhalt: 1. Ives's Uses of Existing Music --
2. Emulating Models and Learning Musical Styles --
3. The Art of Paraphrase --
4. Modeling and Paraphrase in the First and Second Symphonies --
5. Cumulative Settings --
6. The Development and Significance of Cumulative Settings --
7. Modeling and Stylistic Allusion to Evoke a Style or Genre --
8. Patchwork and Extended Paraphrase --
9. Programmatic Quotation --
10. Quodlibet and Collage --
11. The Significance of Ives's Uses of Existing Music --
Index of Ives's Compositions.
Andere Titel Charles Ives and the uses of musical borrowing
Verfasserangabe: J. Peter Burkholder.

Abstract:

Charles Ives is famous for using borrowed material in his music. Almost two hundred individual works or movements, spanning his entire career and representing more than a third of his output, incorporate music by other composers or from his own previous work. In this book, the eminent Ives scholar J. Peter Burkholder identifies the different kinds of "quotations" in Ives's music, explores the complex musical, aesthetic, and psychological motivations behind the borrowings, and shows the purpose, techniques, and effects that characterize each one.

Burkholder catalogues fourteen distinct ways that Ives borrowed, ranging from direct quotation to paraphrase, variation, collage, modeling, and stylistic allusion. Arguing that these borrowing procedures were compositional strategies, he provides a new perspective on Ives's process of composition. In addition, by tracing the development of Ives's borrowing practices through his career, Burkholder contributes to an understanding of the composer's stylistic evolution. And by showing how much of Ives's music uses borrowing procedures that are common to many composers, he reveals that Ives is not as far removed from the classic-romantic tradition as has been thought. Finally, Burkholder's comprehensive treatment of Ives's borrowing techniques offers a new perspective on the entire field of musical borrowing.

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