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This Work Is Protected by Copyright and Other Intellectual Property Rights This work is protected by copyright and other intellectual property rights and duplication or sale of all or part is not permitted, except that material may be duplicated by you for research, private study, criticism/review or educational purposes. Electronic or print copies are for your own personal, non- commercial use and shall not be passed to any other individual. No quotation may be published without proper acknowledgement. For any other use, or to quote extensively from the work, permission must be obtained from the copyright holder/s. THE EVOLVING KEYBOARDSTYLE OF CHARLESIVES BY MICHAEL JOHN ALEXANDER Volume One: Text Submitted as a Thesis for the Degree of Doctor of Philosophy The, University of Keele 1984 ii ABSTRACT The investigation focusses on the cultural, scientific and philosophical bases underlying Ives' striving towards both a unique kind of keyboard writing and its musical realization. His gradual accumulation of a multiplicity of received traditions in American art and folk music of his time, together with their attendant attitudes with respect to individual performance practice and improvisation, will be accounted for by a detailed examination of the major influences involved and their assimilation into the composer's innovative designs. By enquiring into Ives' early musical environment and train- ing, and noting his subtle modification and experimental reworking of nineteenth-century styles, discoveries made will provide a ground- work for further insights into the oral and notated elements of his keyboard language. Through his experiences as an improvising vaude- ville accompanist and as a more passive observer of various surviv- ing New England vocal traditions, the spiritual and acoustical man- ifestations revealed exert a strong influence on the way that the composer regards the piano's sonority. These diverse features coal- esce into an original body of solo studies representing the essence of Ives' transcendentalism: where "the evolving" is both implicit in the determination of written notation and its contingent trans- lation through live performance into musical meaning. iii ACKNOWLEDGMENTS I wish to thank the London agents of Peters Edition Limited, G. Schirmer Limited and Alfred A. Kalmus Limited for permission to use copyrighted examples of Charles Ives' published compositions; the Hinrichsen Foundation (London) for a generous grant of funds for the purchase of microfilm materials; the University of Yale Music Library for their location and reproduction. I am especially indebted to the Ives scholar Alan Mandel, Esq. and to my supervisor Professor Peter Dickinson for their friendly help and constant enthusiasm throughout the conduct of this research. September; 1984" iv CONTENTS Abstract ......................... ii Acknowledgments ...................... iii Chapter 1. INTRODUCTION: SCOPEAND PREVIEW OF THIS STUDY. .. 1 2. THE EARLY YEARS 1882-1902: NEW IDEAS FROM OLD THEMES 6 ...................... Introduction* 6 a) ................. b) Drum Experiments Handshape Chords 9 and ..... Emerging Hallmarks Style 16 c) of .... 0,0 .... Harmonic in the Vocal 16 Trends Early Works. .. Experiments Structures 23 with Intervallic ... Chordal Counterpoint, Wedges and New Textures 31 d) New Treatments Scales of and Arpeggios. .... 33 The Chromatic Scale ............. 33 The Mixing of Diatonic, Modal and other Scale Forms ................. 38 Musical Figures Speech e) of ........... 40 "Affection" in Melodies Smaller and Motives . 46 Sequential Transitions. ........... 50 f) New Resources from Secondary Musical Materials. 51 Reassessments of the Traditional Accompan- iment .................... 51 Prom to Accompaniments Solos. ........ 54 Gestures Overhand Techniques. g) and ....... 55 h) Summary 60 .................... 3. POPULAR PIANISM: A CATALYST FOR TRANSITION 65 .... Introduction a) .................. 65 b) Roots: Eastern Ragtime, ............ 66 Extemporaneous c) Fun. .............. 71 d) Cultural Perceptivity ............. 76 Ives the Performer. e) .............. 80 " 83 The Ragtime Dances. g) .............. 87 h) Prospects Perpetual Variation. of ....... 88 j) "Reach-me-downs" "Ready-mades". and ...... 92 k) Transitions in Style* ............,. 97 V Chapter 3.1) New Forms Motivic Unities and ........ 99 Mature Style The Three Page m) -- Sonata ..... 102 Summary n) .................... 109 4. NEW ENGLAND VOCAL TRADITIONS: FUSIONS WITH POLK' PERFORMANCE' PRACTICE ............... 113 Introduction. a) ................. 113 b) The Transcendental Background .... do's ... 113 New England Hymnody c) .............. 116 d) Folk 120 Heterophony ................ Ornamentation Gliding 126 e) and Notes ........ f) Intervallic Adjustments and Rhythmic Variations 130 g) 1 33 Summary .................... 5. ACOUSTICSAND KEYBOARDSONORITY: EXPLORATIONSOF TIME" AND SPACM 136 .................. Introduction. a) ................. 136 b) An Exploratory Partnership. .......... 136 c) Images in Sound ................ 139 d) New Interpretations Notation Spelling. 141 of and . The Bell Structural Associative. 147 e) as and Device . f) Fusions Time Space of and ........... 150 Summary g) .................... 156 6. THE TAKE-OFFS AND STUDIES: EVOLUTION AS STYLE. 160 .. Origins Sources a) and .............. 160 b) Systems and Cycles o.............. 163 New Treatments Sequences Textures. c) with and .. 169 d) Comparisons: Tonal Non-Tonal versus ...... 172 Improvisations Free Fantasies e) and ....... 174 f) Fusions: Hybrid Style and Performance Practice.. 180 Summary g) ... 0................ 187 7. CONCLUSION .................... 191 Appendix AN ANALYSIS: THE SLOWMOVEMENT OF THE FIRST PIANO SONATA ...................... 203 Introduction, ................. 204 Melodic Treatments o.............. 205 Rhythmic Treatments .............. 209 Harmonic Treatments ..... 0........ 210 vi SELECTED BIBLIOGRAPHY ................... 213 Books, Articles Essays, .............. 213 Published Scores (Keyboard). ........... 216 Microfilms. Photostat Copies ................. 217 Gramophone Recordings. .............. 218 GENERALBIBLIOGRAPHY ................... 219 Books ....................... 219 220 Articles and Papers. ............... 221 Theses and Dissertations ............. 1 CHAPTERONE INTRODUCTION: SCOPE & PREVIEW OF THIS STUDY Charles Ives is now recognized as the leading American compos- er of his generation. The past twenty years have seen most of his music come into print, and this has reached a wider'public through live performances and gramophone recordings. Informal and learned art- icles have served as helpful introductions and surveys of his life's achievements: more searching examinations in the form of theses and dissertations have either consolidated or shone new light on a var- iety of these aspects. Not surprisingly most emanate from the United States. On this side of the Atlantic however, the position has not been particularly encouraging. Wilfrid Mellers' pioneering book Music in a New Found Land has scarcely led to a trickle of detailed interest here, though a few perceptive articles and radio talks have helped to emphasize Ives' importance. His music only occasionally appears on concert programmes with the result that average concert-goers can recall little more than the existence of a descriptive piano sonata, "some" symphonies and The Unanswered Question: truly an enigmatic situation. Nevertheless, the BBC continues to maintain a respectable number of performances from Ives' wide output. Other-than irregular hearings of his Concord Sonata the remainder of Ives' piano music is relatively unknown. While this work has attracted the public's attention more for its mythical "toughness" than its boldly evocative portraits of four Transcendent- alist thinkers, Ives' other great sonata and smaller piano pieces are very rarely played. With nearly half of his keyboard manuscripts still unpublished, the composer. 's creative aims in this field are 2 given very incomplete exposure. Things could have been remedied by the publication of a few really detailed examinations of Ives' musical intentions; yet, only H. Wiley Hitchcock's purposely limited monograph Ives slightly alleviates the general poverty of discussion on the technical procedures adopted in the compositions. Conversely historical and philosophical lines of enquiry are well catered for in Frank Rossiter's Charles Ives & His America and Rosalie Sandra Perry's Charles Ives Sc The American Mind. Other than Sondra Rae Clark's article The Element of Choice in Ives' Concord Sonata and her. university thesis on this work, to date there has been no sys- tematic research into the nature of the piano writing. The scarcity of any detailed information on this particular topic made an investigation into the many complex factors under- lying Ives' formation of a unique keyboard style very necessary. It-could have culminated in a discussion on the two piano sonatas; but, without a doubt such an approach would have proved cursory. These works deserve a thesis in their own right. Instead it has been decided here to deal with Ives' writing from the viewpoint of process and his gradual evolution into maturity; that is, a progressive examination from the earliest days of his musical apprenticeship through to the types of keyboard writing used in the sonatas. In this way the composer's later hybrid language can be accounted for through a careful scrutiny of its constituent parts. Even so, the whole subject of chronology presents problems for researchers: the datings of his compositions are
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