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Musicology Makes Its Mark
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This chapter examines the impact of musicology on Charles E. Ives's reception by focusing on the contributions made by musicologists to discourse about the composer during the period 1965–1985. It considers how musicologists portrayed Ives through their disciplinary practices and perceptions and shows that their image of Ives was deeply rooted in European music history. The chapter also explores how Ives became the subject of style history by looking at the work of William W. Austin, H. Wiley Hitchcock, and Robert Morgan. Finally, it discusses J. Peter Burkholder's discovery that Ives's commitment to transcendentalism was not so deep nor did it extend quite so far back as had previously been assumed.
Title: Musicology Makes Its Mark
Description:
This chapter examines the impact of musicology on Charles E.
Ives's reception by focusing on the contributions made by musicologists to discourse about the composer during the period 1965–1985.
It considers how musicologists portrayed Ives through their disciplinary practices and perceptions and shows that their image of Ives was deeply rooted in European music history.
The chapter also explores how Ives became the subject of style history by looking at the work of William W.
Austin, H.
Wiley Hitchcock, and Robert Morgan.
Finally, it discusses J.
Peter Burkholder's discovery that Ives's commitment to transcendentalism was not so deep nor did it extend quite so far back as had previously been assumed.
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