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This catalogue of the music of Charles Ives contains 728 entries covering all of the prolific composer's works. James Sinclair's book presents information produced by recent Ives scholarship and generous commentary on each of Ives's compositions. It completes the work begun by musicologist John Kirkpatrick in 1955, when Ives's music manuscripts were deposited in the Yale Music Library. Ives's works are arranged alphabetically by title within genres. Whenever possible, each entry includes the main title and any other titles the composer may have used; the forces required; the duration; headings of movements; publication history; citation of the first known performance and first recording; the derivation of the work, listing music on which it may be modeled or from which it may borrow material; the principal literature treating the piece; and commentary on these and other matters. The catalogue also provides musical incipits for all Ives's extant works, seven appendixes (covering his work lists, 'Quality Photo' lists, his songbooks, a chronology of his life, recordings made by Ives, and his private publications and commercial publishers), three concordances, and four extensive indexes (addresses, names, titles, and musical borrowings).
This book comes from first hand experiences, both in word and in pictures. It offers a partial record of a community and an institution coming together to accommodate an event while deflecting its potential violence. The history of the New Haven Green bridges over four centuries. It has served as a place for worship, for grazing cattle, staging revolutions, witness to hangings, and various campaigns. On the day before and on May Day of 1970, Yale University and New Haven prepared to host an agitated congregation of young civil rights activists with a diverse list of causes, but focused mainly on freeing Bobby Seale, the Black Panther leader. This book gives a glimpse of that diversity; diverse in cause, attitude, and dress. Marked changes in mood evolved over the approximate 32 hours. Yale and New Haven could be proud of avoiding real violence and blood shed. Like an archeological record, it exhibits not only the New Haven Green on that one day, but marks a broader shift in direction for a county at large. For those who were there, it seems painfully near. For later generations, it is likely a remote abstraction.
Through their reminiscences, Ives's relatives, friends, colleagues, and associates reveal aspects of his life, character, and personality, as well as his musical activities.
Here are the stories of how music archives are preserving independent music and saving a part of our cultural heritage. Music Preservation and Archiving Today moves beyond the how-to and assembles the work currently being done to preserve music and "scenes" via essays, case studies, and overviews of work by academic archives as well as community­driven preservation projects.