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

Autore: J Peter Burkholder
Editore: New Haven : Yale University Press, ©1995.
Edizione/Formato:   Libro : EnglishVedi tutte le edizioni e i formati
Banca dati:WorldCat
Sommario:
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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Dettagli

Genere/forma: Criticism, interpretation, etc
Sources
Persona incaricata: Charles Ives; Charles Ives; Charles Ives; Charles Ives; Charles Ives; Charles Ives; Charles Ives
Tipo documento: Book
Tutti gli autori / Collaboratori: J Peter Burkholder
ISBN: 0300056427 9780300056426 0300102127 9780300102123
Numero OCLC: 32237536
Descrizione: xii, 554 p. : ill. ; 24 cm.
Contenuti: 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.
Altri titoli: Charles Ives and the uses of musical borrowing
Responsabilità: 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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