東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Charles Ives and democracy: Associat...

Hamm, Chelsey Lynne.

Linked to FindBook

Google Book

Amazon

博客來

Charles Ives and democracy: Association, borrowing, and treatment of dissonance in his music.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Charles Ives and democracy: Association, borrowing, and treatment of dissonance in his music./
Author:	Hamm, Chelsey Lynne.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	353 p.
Notes:	Source: Dissertations Abstracts International, Volume: 78-07, Section: A.
Contained By:	Dissertations Abstracts International78-07A.
Subject:	American history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10251496
ISBN:	9781369468083

Charles Ives and democracy: Association, borrowing, and treatment of dissonance in his music.
Hamm, Chelsey Lynne.

Charles Ives and democracy: Association, borrowing, and treatment of dissonance in his music. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 353 p.

Source: Dissertations Abstracts International, Volume: 78-07, Section: A.

Thesis (Ph.D.)--Indiana University, 2016.

This item must not be sold to any third party vendors.

I interpret meanings in Charles Ives's uses of musical borrowings through the perspective of his treatment of dissonance. Drawing on archival research and primary documents, I study two aspects: first, how one might reconstruct his thoughts on connections between democracy and dissonance ("Association"), and second, how one might understand his musical dissonances constructively in terms of analysis and experience for the present-day listener ("Treatment"). Ives's writings that discussed features of dissonance-especially extramusical or expressive associations-are ubiquitous, and his writings support the main theoretical ideas of this study. I theorize that, for Charles Ives, dissonance was evocative expressively and extramusically, and that the compositional makeup of his works reflects this aesthetic orientation. Many of Ives's references to dissonant musical structures fall into a web of associations that I describe as "Democratic." In writings that discussed "Democratic" dissonances, Ives associated aspects of dissonance with strength, freedom, and/or democratic principles. By contrast, he regarded music whose dissonant potential was underutilized as lacking the capacity to evoke strength and freedom. Ives also associated aspects of consonance and/or late nineteenth-century musical theories regarding tonal music with autocracy, slavery, and/or "German rules" during and after the Great War. In addition to reconstructing Ives's associations of dissonance, I explore the ways in which Ives treated "Democratic" dissonances musically, and describe how modern listeners might constructively utilize these dissonance treatments for analysis and experience. "Democratic" dissonances manifest in Ives's music that was written or revised during and after World War I, in the guise of tonal passages that Ives may have marked or camouflaged by the "addition" of dissonant musical structures for their political and ethical affect. In my work, I specifically examine passages that feature tonal musical borrowings, which can be compared to consonant, tonal harmonic progressions and melodic lines, as shown through sketch study and my own recompositions. Dissonant notes interact with and alter these underlying consonant, tonal harmonic progressions and melodies, and different kinds of alterations musically shape the affective qualities and compositional design of Ives's music.

ISBN: 9781369468083Subjects--Topical Terms:

2122692
American history.
Subjects--Index Terms:

Ives, Charles

Charles Ives and democracy: Association, borrowing, and treatment of dissonance in his music.
LDR:03810nmm a2200433 4500 001 2396286
005 20240611104210.5
006 m o d
007 cr#unu||||||||
008 251215s2016 ||||||||||||||||| ||eng d
020 $a 9781369468083
035 $a (MiAaPQ)AAI10251496
035 $a (MiAaPQ)indiana:14513
035 $a AAI10251496
040 $a MiAaPQ $c MiAaPQ
100 1 $a Hamm, Chelsey Lynne. $3 3765970
245 1 0 $a Charles Ives and democracy: Association, borrowing, and treatment of dissonance in his music.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 353 p.
500 $a Source: Dissertations Abstracts International, Volume: 78-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Includes supplementary digital materials.
500 $a Advisor: Kielian-Gilbert, Marianne.
502 $a Thesis (Ph.D.)--Indiana University, 2016.
506 $a This item must not be sold to any third party vendors.
520 $a I interpret meanings in Charles Ives's uses of musical borrowings through the perspective of his treatment of dissonance. Drawing on archival research and primary documents, I study two aspects: first, how one might reconstruct his thoughts on connections between democracy and dissonance ("Association"), and second, how one might understand his musical dissonances constructively in terms of analysis and experience for the present-day listener ("Treatment"). Ives's writings that discussed features of dissonance-especially extramusical or expressive associations-are ubiquitous, and his writings support the main theoretical ideas of this study. I theorize that, for Charles Ives, dissonance was evocative expressively and extramusically, and that the compositional makeup of his works reflects this aesthetic orientation. Many of Ives's references to dissonant musical structures fall into a web of associations that I describe as "Democratic." In writings that discussed "Democratic" dissonances, Ives associated aspects of dissonance with strength, freedom, and/or democratic principles. By contrast, he regarded music whose dissonant potential was underutilized as lacking the capacity to evoke strength and freedom. Ives also associated aspects of consonance and/or late nineteenth-century musical theories regarding tonal music with autocracy, slavery, and/or "German rules" during and after the Great War. In addition to reconstructing Ives's associations of dissonance, I explore the ways in which Ives treated "Democratic" dissonances musically, and describe how modern listeners might constructively utilize these dissonance treatments for analysis and experience. "Democratic" dissonances manifest in Ives's music that was written or revised during and after World War I, in the guise of tonal passages that Ives may have marked or camouflaged by the "addition" of dissonant musical structures for their political and ethical affect. In my work, I specifically examine passages that feature tonal musical borrowings, which can be compared to consonant, tonal harmonic progressions and melodic lines, as shown through sketch study and my own recompositions. Dissonant notes interact with and alter these underlying consonant, tonal harmonic progressions and melodies, and different kinds of alterations musically shape the affective qualities and compositional design of Ives's music.
590 $a School code: 0093.
650 4 $a American history. $3 2122692
650 4 $a Music. $3 516178
653 $a Ives, Charles
653 $a Listener perceptions
653 $a Music and meaning
653 $a Musical borrowing
653 $a Tonal recompositions
653 $a World War I
690 $a 0337
690 $a 0413
710 2 $a Indiana University. $b Music Theory. $3 3168619
773 0 $t Dissertations Abstracts International $g 78-07A.
790 $a 0093
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10251496