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A psychoanalytic biography which examines the lives of Charles Ives and his father, George. It shows how a knowledge of their relationship as father and son, teacher and pupil is central to understanding Ives' work. Charles' music is shown as an unconscious collaboration between father and son.
Baseball and the Music of Charles Ivesoffers readers an exceptionally rich understanding of Charles Ives. Through intelligent discussion of Ives's musical compositions combined with solid research on the composer's lifelong love of the American pastime, Ives's pioneering spirit and unique creativity are highlighted most clearly in this fascinating work.
Charles Ives grew up in the nineteenth century and composed chiefly in the twentieth. His nostalgia for a simpler life in the New England country town of his youth is revealed in his frequent musical quotation of songs of that earlier time: parlor and patriot songs, hymns and gospel music. He had learned these songs early in his life through his father, a village bandmaster, who remained the most important influence in his life and music. Ives absorbed these influences within an innovative and modern musical style of composition. Stuart Feder's account of Ives's life clarifies the complexities of the man and his music, while his straightforward discussion of this uniquely autobiographical music in turn illuminates the narrative.
This volume shows Charles Ives in the context of his world in a number of revealing ways. Five new essays examine Ives's relationships to European music and to American music, politics, business, and landscape. J. Peter Burkholder shows Ives as a composer well versed in four distinctive musical traditions who blended them in his mature music. Leon Botstein explores the paradox of how, in the works of Ives and Mahler, musical modernism emerges from profoundly antimodern sensibilities. David Michael Hertz reveals unsuspected parallels between one of Ives's most famous pieces, the Concord Piano Sonata, and the piano sonatas of Liszt and Scriabin. Michael Broyles sheds new light on Ives's political orientation and on his career in the insurance business, and Mark Tucker shows the importance for Ives of his vacations in the Adirondacks and the representation of that landscape in his music. The remainder of the book presents documents that illuminate Ives's personal life. A selection of some sixty letters to and from Ives and his family, edited and annotated by Tom C. Owens, is the first substantial collection of Ives correspondence to be published. Two sections of reviews and longer profiles published during his lifetime highlight the important stages in the reception of Ives's music, from his early works through the premieres of his most important compositions to his elevation as an almost mythic figure with a reputation among some critics as America's greatest composer.
Naslagwerk van de liedkunst en de literatuur hierover.
Humor, a topic that engaged Sigmund Freud both early and late in his career, is richly intertwined with character, with creativity, and with the theory and practice of psychoanalytic therapy. Yet, until very recently, analysts ignored Freud's lead and relegated humor to the periphery of their concerns. Humor and Psyche not only remedies previous neglect of the role of humor in the psychoanalytic situation but opens to a broad and balanced consideration of the role of humor in psychological life. Section I provides historical and theoretical perspectives on the concept of humor. Contributors review Freudian and post-Freudian theories of humor, address the inseparability of humor and play, adumbrate a postmodernist perspective on humor, and focus on the unique cognitive and affective properties of humor. In Section II contributors turn to the relationship of humor to various aspects of the therapeutic process, including the relationship of humor to transference interpretation, the enlivening effects of humor on the therapeutic process, and the multiple meanings of humorous exchanges between therapists and patients. Section III concludes the volume with three fascinating essays on the relationship of humor to character and creativity. They focus, respectively, on the role of humor in the 25-year correspondence of Freud and Sándor Ferenczi, on the interweaving of D. W. Winnicott's comic spirit and theoretical innovations, and on the relationship between humor and creativity in the music of the American composer Charles Ives. Taken together, the contributors reestablish the importance of humor as a topic of psychotherapeutic relevance more than 70 years after Freud's final essay on the topic. Delightfully readable from beginning to end, Humor and Psyche edifies as it entertains.
A collection of essays on the life and music of American composer Charles Ives.
lxxi + 527 pp.The MUSA series is copublished with the American Musicological Society.
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).
In 1921, insurance executive Charles Ives sent out copies of a piano sonata to two hundred strangers. Laden with dissonant chords, complex rhythm, and a seemingly chaotic structure, the so-called Concord Sonata confounded the recipients, as did the accompanying book, Essays before a Sonata . Kyle Gann merges exhaustive research with his own experience as a composer to reveal the Concord Sonata and the essays in full. Diffracting the twinned works into their essential aspects, Gann lays out the historical context that produced Ives's masterpiece and illuminates the arguments Ives himself explored in the Essays . Gann also provides a movement-by-movement analysis of the work's harmonic structure and compositional technique; connects the sonata to Ives works that share parts of its material; and compares the 1921 version of the Concord with its 1947 revision to reveal important aspects of Ives's creative process. A tour de force of critical, theoretical, and historical thought, Charles Ives's Concord provides nothing less than the first comprehensive consideration of a work at the heart of twentieth century American music.