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Ives on His Own Terms: an Explication, a Theory of Pitch Organization, and a New Critical Edition for the "3-Page Sonata"

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Ives on His Own Terms: an Explication, a Theory of Pitch Organization, and a New Critical Edition for the City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1987 Ives on His Own Terms: An Explication, a Theory of Pitch Organization, and a New Critical Edition for the "3-Page Sonata" Carol Kitzes Baron Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1666 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. Order Number 8710602 Ives on his own terms: An explication, a theory of pitch organization, and a new critical edition for theS-Pagt Sonata Baron, Carol Kitzes, Ph.D. City University of New York, 1987 Copyright ©1987 by Baron, Carol Kitzes. All rights reserved. U MI 300 N. Zeeb Rd. Ann Arbor, MI 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check markV . 1. Glossy photographs or pages_____ 2. Colored illustrations, paper or print______ 3. Photographs with dark background____ 4. Illustrations are poor copy S' 5. Pages with black marks, not original copy \/ 6. Print shows through as there is text on both sides of page__ 7. 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Other___________________________________________________________________ University Microfilms International IVES ON HIS OWN TERMS: AN EXPLICATION, A THEORY OF FITCH ORGANIZATION, AND A NEW CRITICAL EDITION FOR THE 3-PAGE SONATA by CAROL KITZES BARON A dissertation submitted to the Graduate Faculty in Musio in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York. 1987 COPYRIGHT BY CAROL KITZES BARON 1987 ALL RIGHTS RESERVED ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. [signature] date /^/HhaiTman of Examining Committee [signature] date __.— Executive Officer Leo Kraft Joel Lester John Graziano Supervisory Committee The City University of New York Acknowledgments With gratitude for the many kinds of assistance that brought this project to its successful conclusion* I first want to acknowledge my advisor and readers at the Graduate Center. Leo Kraft provided mature counsel throughout* helping me clarify and limit my objectives. His steady support and encouragement and* most of all* the intellectual generosity* curiosity* and deep personal wisdom he brings to everything he does were invaluable. Dr. John Graziano brought his considerable editorial talents to my dissertation. Whatever oversights or ambiguities remain are my sole responsibility for he tolerates neither. Dr. Joel Lester's analytical precision and energy enabled him to penetrate the goals of my work very quickly and to help focus the thrust of them. Dr. H. Wiley Hitchcock first introduced me to the 3- Paae Sonata in his seminar class. His well-organized approach drew attention to basic resource materials and the wide range of Ives's output. Allan Atlas's generous and very helpful advice about doing a scholarly edition was based on his own editorial experience with Renaissance sources. Gilbert Kalish and Joel Lester* both important performers of twentieth century musio* told me what they valued in an edition* helping me produce what I believe is a practioal edition without sacrificing scholarly values. The staff members of the Music Library at Yale University were extremely helpful. In particular I iv want to thank Harold Samuels* Vio Cardell* and espeolally Helen Bartlett who helped me find materials that were stored In obscure places. Corodon Fuller of Musioa Vera is responsible for the engraving of the new edition. Samuel* Pamela* and David Baron have always been there for me* cheerfully seeing me through various states of preoccupation* during this period of work. v CONTENTS Page Acknowledgments iv List of Examples viii Prefaoe xiv Chapter Part One: An Explication I. Introduction: Extra-musical Dimensions 1 Ives's Musical Vision and Aesthetics In The Context of 20th Century Musical Aesthetics The 3-Page Sonata: The Literary Components II. Musical Form and Technique As Vehicles of Meaning 20 An Explication of the 3-Paae Sonata Other Interpretations of Form in the 3-Pace Sonata Some Conclusions About the Manuscript Other Interpretations of the Signification of the Formal Designs and Marginalia Part Two: Aapeots of Pitoh Organization III. Introduction: "What Part of Substance Is Manner?" 61 Ives's Place in the Turn-of-the Century Musical Crisis Ives's Search For Musical Analogues Ives's Exploration of Nature's Potential Ives's Belief in Progress As A Principle of Neoesslty in Life and Art IV. A Theory of Pitoh Organization 73 The Referential Collections Pitch Class Cycles: Interval-3 Cyoles Prioritization Tonal Motion From Area To Area Some Analytical Applications vi Part Three: A Hew Critical Edition V. The Need for A New Critical Edition: 111 Meaning in Ives's Notation Conclusion Qoals of the New Edition Appendix I: Tonal Motion and Prioritized Areas the First Movement 142 Appendix IIA: Theoretical Overview of the Second Movement 143 Appendix IIB: Prioritized Tonal Areas in the Second Movement 144 Appendix III: Pitch Class Sets in the Third Movement> Allegro 145 Appendix IV: A New Critical Edition 146 Introduction Autographs Critical Notes Edition Bibliography 181 vii List of Examples and Figures Example Page 1. Example 2.01. 1st movement (Allegro moderato), p. 3. system 1-system 2: 4th quarter. 24 2. Example 2.02. 1st movement* p. 3 , system 2: 6th quarter- system 3: 6th quarter. 25 3. Example 2.03. 1st movement* p. 4* system 2. 25 4. Example 2.04. 1st movement: oountersubjeots. 26 5. Example 2.05. Chart: design of 1st movement. 27 6. Example 2.06. 1st movement* p. 3* system 2: 4th quarter- 5th quarter. 28 7. Example 2.07. 1st movement* p.3* system 3: 6th quarter to p. 4* 1st quarter. 28 8. Example 2.08. 2nd movement* mm. 1-5* 13-24* 19-end: rhythmic and metrioal variation in three layers. 37 9. Example 2.09. Design of third movement. 42 10. Example 2.10. 3rd movement* m. 17* 3rd quarter-m. 19* 4th 44 quarter 11-. Example 2.11. 2nd movement* mm. 17-22* bottom layer. 45 12. Example 2.12. 3rd movement* measures 23-24. 46 13. Example 2.13. 3rd movement* measures 11-22* rhythm and meters. 48 14. Figure 4.01. Motion along the trajeotory of interval-2 oycles. 92 15. Figure 4.02. Motion along the trajeotory of interval-4 cycles. 93 16. Figure 4.03. Motion along the trajectory of C5/7 half-note. 93 viii 17. Figure 4.04. Non-modulatory motions. 95 18. Example 4.01. 1st movement. System 2> 3rd quarter: rhythmic reduotion. * 95 19. Example 4.02. 1st movement. Page 4, system 2 to end: 3rd statement of fugal complex. 98 20. Example 4.03. 2nd movement. Measures 1-3: Block 1 100 21. Example 4.04a. 3rd movement. Measures 11-13 and 14-16 1j01 22. Example 4.04a. 3rd movement. 103 23. Example 4.05a. 2nd movement. Measure 19. 4th quarter-22, 1st quarter: sequential phrase. 104 24. Example 4.05b. Rhythmic reduction. 105 25. Example 4.05c. Middleground. 106 26. Example 4.05d. 2nd movement. Measures 19, 4th quarter- 29: "middleground reduction." 106 27. Example 4.05e. Sequence: arpeggiation. 107 lx Preface Ives On Hie Own Terms grew out of a need to understand and express what I heard in Ives's music and intuited about him through his writings. In his musio I was struck by both a compelling psychological immediacy and an "affective" or emotional dlstanoei a combination that I continue to find fascinating. I was looking for the basis of a dimension that I felt was there but was elusive. Reading his "literary" works— mainly the Memos.
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