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Author: Gayle Sherwood Magee
Publisher: University of Illinois Press
ISBN: 0252033264
Category : Biography & Autobiography
Languages : en
Pages : 258
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Book Description
An engaging new portrait of the seminal American composer
Author: Gayle Sherwood Magee
Publisher: University of Illinois Press
ISBN: 0252033264
Category : Biography & Autobiography
Languages : en
Pages : 258
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Book Description
An engaging new portrait of the seminal American composer
Author:
Publisher:
ISBN: 9781591124863
Category : Juvenile Fiction
Languages : en
Pages :
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Book Description
Charlie listened all through his boyhood, and as he grew into a man, he found he wanted to re-create in music the sounds that he heard every day. But others couldn't hear what Charlie heard. They didn't hear it as music--only as noise. In this daring and
Author: Joanne Stanbridge
Publisher: HarperCollins
ISBN: 0547935668
Category : Juvenile Nonfiction
Languages : en
Pages : 37
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Book Description
When the Lusitania was attacked in 1915, the American composer and New Yorker Charles Ives transformed the experience of this heartbreaking news into a musical piece. It begins with a jumble of traffic noises, then the hurdy-gurdy swells into the lovely old hymn “In the Sweet Bye-and-Bye.” In lyrical text and watercolors—sometimes in dramatic wordless spreads—this thoughtful picture ebook reveals not only a wartime tragedy, but a composer’s conviction that everyday music can convey profound emotion—and help heal a city. Young readers will understand that if they listen, music can be heard in the unlikeliest of places, from the busy chatter of a market to the wail of a fire engine.
Author: Vivian Perlis
Publisher: University of Illinois Press
ISBN: 9780252070785
Category : Biography & Autobiography
Languages : en
Pages : 268
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Book Description
Through their reminiscences, Ives's relatives, friends, colleagues, and associates reveal aspects of his life, character, and personality, as well as his musical activities.
Author: Brooklyn College. Institute for Studies in American Music
Publisher: Urbana : University of Illinois Press
ISBN:
Category : Music
Languages : en
Pages : 304
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Book Description
After years of neglect, composer Charles Ives (1874-1954) has been proclaimed as "the father of nearly everything American in American music." The lack of recognition that Ives suffered in his own lifetime - for example, he never heard most of his major pieces played - has been obliterated by all-Ives concerts, radio broadcast series, documentary films, books, and the establishment of Ives societies here and abroad. All these things attest to Ives's increasing stature since the fifties and give certain evidence that he has finally "arrived." Public acclaim for Ives's talents reached its zenith in the Charles Ives Centennial Festival-Conference, the first international congress ever dedicated to an American composer. This book is the record of the non-performance part of the festival-conference. It contains essays on Ives and American culture, chapters on conducting, performing, and editing Ives, comments from foreign scholars and composers, and a long section on Ives and present day musical thought. The papers and panels examine minute details of Ives's music and life in an attempt to explain the current "Ives phenomenon." The contributors are among the most important names in their respective fields.
Author: Charles Ives
Publisher: A-R Editions, Inc.
ISBN: 0895795248
Category : Music
Languages : en
Pages : 610
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Book Description
lxxi + 527 pp.The MUSA series is copublished with the American Musicological Society.
Author: Alan Rich
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 252
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Book Description
A survey of the American composers who invented new musical languages.
Author: Antony Cooke
Publisher: Infinity Publishing (PA)
ISBN: 9781495809378
Category : Music
Languages : en
Pages : 270
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Book Description
NEW for 2015--REVISED & UPDATED Edition In 'Charles Ives and his Road to the Stars, ' Antony Cooke brings a fresh new approach to the music of America's iconic composer in this accessible account of what lay behind the music of this modern titan. It has been over a quarter of a century since the period of destructive revisionism impacted his ascending star, leading to the much-touted "reassessment" of his contributions. With a comprehensive approach and detailed examination of a broad cross section of the music itself, the real Ives is revealed, the many myths, misconceptions, faulty impressions, and incorrect conclusions at long last stripped away. With clear indications that Ives encoded into his music a spiritual link to the cosmos, the special destination and purpose leading to his legendary and almost tragically mythic Universe Symphony finally become clear, this focal work receiving an in-depth examination. If all too often the composer has been kept from the broader public by an elitism that Ives would have abhorred, or by many tangled biographic analyses that reveal more about the writers than they do about Ives. Cooke steers the reader toward a clear understanding of this iconic figure-an American treasure, one whose music and life brings vividly to mind the almost forgotten time of the golden age of America's emergence as a dominant presence with a cultural identity finally separated from the Old World across the Atlantic. Linked to a broad cross section of his music, the reader is guided through Ives's unique musical language, and what lay behind it. Exposing the many myths, untruths, misconceptions, faulty impressions, and incorrect conclusions along the way, Ives is treated with a respect earned, but often denied.
Author: Kenneth M. Smith
Publisher: Oxford Studies in Music Theory
ISBN: 0190923423
Category : Music
Languages : en
Pages : 361
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Book Description
"Of the many composers in the Western classical tradition who celebrated the marriage between psyche and sound, those explored in this book followed the lines diverging from Wagner in philosophizing the nature of desire in music. This books offers two new theories of tonal functionality in the music of the first half of the twentieth century that seek to explain its psychological complexities. First, the book further develops Riemann's three diatonic chord functions, extending them to account from chromatic chord progression and substitution. The three functions (Tonic, Subdominant, Dominant) are compared to Jacques Lacan's twin-concepts of metaphor and metonymy which drive the human desiring apparatus. Second, the book develops a technique for analysing the "drives" that pull chromatic music in multiple directions simultaneously, creating a libidinal surface that mirrors the tensions of the psyche found in Schopenhauer, Freud and post-Freudians-Lacan, Lyotard, and Deleuze.The harmonic models are tested in psychologically challenging pieces of music by post-Wagnerian composers. From the obsession with death and mourning in Josef Suk's Asrael Symphony to an exploration of "perversion" in Richard Strauss's Elektra; from the post-Kantian transcendentalism of Charles Ives' Concord Sonata to the "Accelerationism" of Skryabin's late piano works; from the Sufi mysticism of Szymanowski's Song of the Night to the failed fantasy of the American dream in Aaron Copland's The Tender Land, the book cuts a path through the dense forests of chromatic complexity, and digs deep into the psychological make-up of post-Wagnerian psychodynamic music"--
Author: Gene Santoro
Publisher: Oxford University Press
ISBN: 0198025785
Category : Music
Languages : en
Pages : 479
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Book Description
Charles Mingus was one of the most innovative jazz musicians of the 20th Century, and ranks with Ives and Ellington as one of America's greatest composers. By temperament, he was a high-strung and sensitive romantic, a towering figure whose tempestuous personal life found powerfully coherent expression in the ever-shifting textures of his music. Now, acclaimed music critic Gene Santoro strips away the myths shrouding "Jazz's Angry Man," revealing Mingus as more complex than even his lovers and close friends knew. A pioneering bassist and composer, Mingus redefined jazz's terrain. He penned over 300 works spanning gutbucket gospel, Colombian cumbias, orchestral tone poems, multimedia performance, and chamber jazz. By the time he was 35, his growing body of music won increasing attention as it unfolded into one pioneering musical venture after another, from classical-meets-jazz extended pieces to spoken-word and dramatic performances and television and movie soundtracks. Though critics and musicians debated his musical merits and his personality, by the late 1950s he was widely recognized as a major jazz star, a bellwether whose combined grasp of tradition and feel for change poured his inventive creativity into new musical outlets. But Mingus got headlines less for his art than for his volatile and often provocative behavior, which drew fans who wanted to watch his temper suddenly flare onstage. Impromptu outbursts and speeches formed an integral part of his long-running jazz workshop, modeled partly on dramatic models like Orson Welles' Mercury Theatre. Keeping up with the organized chaos of Mingus's art demanded gymnastic improvisational skills and openness from his musicians-which is why some of them called it "the Sweatshop." He hired and fired musicians on the bandstand, attacked a few musicians physically and many more verbally, twice threw Lionel Hampton's drummer off the stage, and routinely harangued chattering audiences, once chasing a table of inattentive patrons out of the FIVE SPOT with a meat cleaver. But the musical and mental challenges this volcanic man set his bands also nurtured deep loyalties. Key sidemen stayed with him for years and even decades. In this biography, Santoro probes the sore spots in Mingus's easily wounded nature that helped make him so explosive: his bullying father, his interracial background, his vulnerability to women and distrust of men, his views of political and social issues, his overwhelming need for love and acceptance. Of black, white, and Asian descent, Mingus made race a central issue in his life as well as a crucial aspect of his music, becoming an outspoken (and often misunderstood) critic of racial injustice. Santoro gives us a vivid portrait of Mingus's development, from the racially mixed Watts where he mingled with artists and writers as well as mobsters, union toughs, and pimps to the artistic ferment of postwar Greenwich Village, where he absorbed and extended the radical improvisation flowing through the work of Allen Ginsberg, Jackson Pollock, and Charlie Parker. Indeed, unlike Most jazz biographers, Santoro examines Mingus's extra-musical influences--from Orson Welles to Langston Hughes, Farwell Taylor, and Timothy Leary--and illuminates his achievement in the broader cultural context it demands. Written in a lively, novelistic style, Myself When I Am Real draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made.
