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• Classical
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• Modern Era

1874–1954 American composer Ives was drawn to music largely by the example of his father George, who had been a bandsman in the American Civil War and who encouraged his son in such experiments as playing a tune in one key and its accompaniment in another. Ives studied with the conservative composer Horatio Parker (1863–1919), but soon turned to his ...

• Instruments
• Keyboards

himself, Bernhard Molique (1802–69), George Macfarren (1813–87), J.F. Barnett and Julius Benedict (1804–85). The instrument has also been drafted into the symphony orchestra, most notably by Charles Ives (1874–1954) and Percy Grainger (1882–1961). Alternative forms of it include the aeola of 1845, using an octagonal shape, and the ‘Duet System’ in which a full chromatic scale ...

• Instruments
• Classical
• Modern Era

now in use in music education, particularly with physically impaired musicians. The two rods around which the hands play give it a disembodied appearance to match its unearthly sound. Ives, Grainger and Martin have all written for the theremin. Styles & Forms | Modern Era | Classical Instruments | Ondes Martenot | Modern Era | Classical ...

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Frisell left New York City and moved to Seattle. In the early Nineties Frisell made two of his best-known albums: Have A Little Faith (1992), an ambitious album tackling Charles Ives and Aaron Copland (‘Billy The Kid’), John Hiatt (the title song), Bob Dylan (‘Just Like A Woman’), and Madonna (‘Live To Tell’); and This Land 1992), a complementary set of ...

• Personalities
• Classical
• Composer
• Modern Era

Mountains (1924) and Sun-Treader (1926), Portals (1926) for strings and Angels (1924) for brass ensemble. They exhibit a boldly powerful, big-boned atonal style that at times approaches his friends Ives and Varèse, but remains independent. He worked slowly and painstakingly, and ceased composing in his early seventies. Recommended Recording: Complete Music of Carl Ruggles, Buffalo PO (cond) ...

• Personalities
• Classical
• Composer
• Contemporary Classical

1908–2012 American composer An early relationship with Charles Ives (1874–1954) and a period of study with Nadia Boulanger (1887–1979) led to a synthesis of European modernism and American ultra-modernism, which can be heard in the String Quartet No. 1 (1950–51). By the second quartet (1959), Carter was following an entirely different style: the four string players are instructed to sit ...

• Personalities
• Classical
• Composer
• Modern Era

his output was prolific. He was also an influential teacher, of John Cage (1912–92) and Gershwin, among others, and his New Music Edition published the work of Ives and Ruggles. Recommended Recording: Quartets, Colorado Quartet et al (Mode) Introduction | Modern Era | Classical Personalities | Ruth Crawford (Seeger) | Modern Era | Classical ...

• Personalities
• Classical
• Composer
• Late Romantic

Parker studied in Boston with the European-trained George Chadwick and in Munich with Josef Rheinberger, and later taught in New York and Yale, where his students included Charles Ives (1874–1954) and Roger Sessions (1896–1985). As a virtuoso organist he held a prestigious post at Trinity Church, Boston, and founded and conducted the New Hampshire Symphony Orchestra and ...

• Personalities
• Classical
• Composer
• Contemporary Classical

philosophy. From the 1970s onwards, Cage began to write prolifically again, with the same chance elements, often in response to commissions from performers. Recommended Recording: Fourteen, Ives Ensemble (Hat-Hut) Introduction | Contemporary | Classical Personalities | Elliott Carter | Contemporary | Classical ...

• Personalities
• Classical
• Composer
• Modern Era

Recommended Recording: A London Overture, Epic March, These Things Shall Be, etc., LSO (cond) Richard Hickox (Chandos) Introduction | Modern Era | Classical Personalities | Charles Ives | Modern Era | Classical ...

• Styles & Forms
• Free Jazz
• Jazz

is loath to share it; Taylor’s music is difficult, and he is delighted to share it’. ‘The American aesthetic landscape is littered with idiosyncratic marvels – Walt Whitman, Charles Ives, D. W. Griffith, Duke Ellington, Jackson Pollock – and Taylor belongs with them,’ Balliett continued. From Coltrane To Braxton Possibly the most influential free jazz player ...

• Styles & Forms
• Jazz
• Ragtime

1880s in camps of workers building the great railroads across the American continent, as well as in travelling minstrel shows and vaudeville shows. By 1892, the composer Charles Ives had come across it in his home town of Danbury, Connecticut. At the Chicago World’s Fair that same year, many people heard ragtime for the first time. By ...

• Styles & Forms
• Classical
• Twentieth Century

with Le Sacre du printemps, regardless of the changes in musical language, is the composer’s compelling, continual rediscovery of a fundamental human need for sacred ritual. Charles Ives And The Lost World Of Childhood Fifty years ago, the music of Charles Ives (1874–1954) was hardly known to all but the composer’s intimate circle. Indeed, Ives died ...

• Classical
• Modern Era

folk materials to a much larger-scale, but less clearly defined, national evocation. Typical of this were such contrasted composers as Jean Sibelius (1865–1957), Carl Nielsen (1865–1931) and Charles Ives (1874–1954), each of whom could be said to have established his country’s identity through music and in the process produced abstract music that has had as profound an effect on ...

• Styles & Forms
• Classical
• Modern Era

a teenager that penetrated both the complex, multi-layered textures of the 14 Chôros (1920–29) and the more restrained diatonic language of the Bachianas Brasilieras (1930–44). In the US, Ives and Thomson made extensive use of the hymn-tunes of the Sunday School and revival meetings, while Copland quoted published cowboy melodies in his popular ballets Billy the Kid (1938) ...