Interval Cycles as Compositional Resources in the Music of Charles Ives

1990 ◽  
Vol 12 (1) ◽  
pp. 43-82 ◽  
Author(s):  
J. Philip Lambert
Keyword(s):  
1999 ◽  
Vol 21 (1) ◽  
pp. 74-104 ◽  
Author(s):  
John Clough ◽  
Nora Engebretsen ◽  
Jonathan Kochavi
Keyword(s):  

1997 ◽  
Vol 21 (1) ◽  
pp. 77-95
Author(s):  
David Metzer
Keyword(s):  

1993 ◽  
Vol 11 (4) ◽  
pp. 488
Author(s):  
William Brooks ◽  
Larry Starr
Keyword(s):  

Author(s):  
Jane Manning

This chapter introduces works by Lyell Cresswell. His use of the voice as showcased in this chapter is highly imaginative and often demanding. The refreshingly uninhibited musical style defies easy categorization, but displays signs of an iconoclasm developed by Charles Ives. Cresswell achieves its effect by relatively simple means, including repetition. All the songs are brief yet sharply contrasted, and they convey a heady religious fervour that carries all before it. The third perhaps requires the most vocal virtuosity, and the sixth needs considerable stamina to bring it off, especially in some crucially loud spoken (shouted) passages. The final movement is a test of quick rhythmic articulation. The piano’s contribution is brimming with energy and drama, responding and adapting adroitly to the texts’ changing moods.


Author(s):  
Brenda Ravenscroft

Born in 1908 into a wealthy New York City family, Elliott Carter enjoyed a cosmopolitan childhood, spending time in Europe and learning French at an early age. The composer Charles Ives mentored the young Carter, taking him to concerts in New York and encouraging his developing interest in music. Carter’s childhood, characterized by immersion in a culturally enriched environment and exposure to the modern world, provided the elements from which his artistic aesthetic and musical language would later be forged. When Carter entered Harvard College, he focused his studies on English literature, Greek, and philosophy, although musical activities continued in the form of lessons with Walter Piston and Gustav Holst, as well as singing with the Harvard Glee Club. Carter completed a master’s degree in music at Harvard in 1932, after which he moved to Paris to study composition with Nadia Boulanger for three years. He received a doctorate in music from the École Normale de Musique in Paris in 1935.


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