All Made of Tunes: Charles Ives and the Uses of Musical BorrowingYale University Press, 01/01/1995 - 554 من الصفحات 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, he 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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المحتوى
Emulating Models and Learning Musical Styles 12 2400 | 12 |
The Art of Paraphrase | 37 |
Modeling and Paraphrase in the First and Second Symphonies | 88 |
Cumulative Settings | 137 |
The Development and Significance of Cumulative Settings | 216 |
Modeling and Stylistic Allusion to Evoke a Style or Genre | 267 |
Patchwork and Extended Paraphrase | 300 |
Programmatic Quotation | 340 |
Quodlibet and Collage | 369 |
The Significance of Ivess Uses of Existing Music | 412 |
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عبارات ومصطلحات مألوفة
Alcotts allusion American appears Azmon bass Beethoven Bethany Beulah Land borrowed material borrowed tunes Brahms Catalogue cello Charles Ives chorale chords chorus coda collage composers Concord Sonata countermelody counterpoint cumulative form cumulative setting Dvořák evoke existing music extramusical figure flute Fourth Symphony Fourth Violin Sonata fragments fugue genre Henderson hymn hymn tune idea ink copy Ives dated Ives's Ives's music John Kirkpatrick later main theme major melody Memos ment middle section Missionary Chant models Nettleton notes opening motive orchestra ostinato paraphrase passage patchwork Peer International Piano Sonata piece played procedures programmatic quodlibet quotation ragtime refrain reprise resemblance reworking rhythm score-sketch second movement Second Symphony second theme Sherwood Shining Shore shown in Example similar sketch sonata form source tunes statement String Quartet style suggests ternary form thematic third movement Third Symphony tion tradition Tunebook variation verse Violin Sonata Westminster Chimes