SC MUSC 110 - 31 American Modernism (8 pages)

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31 American Modernism



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31 American Modernism

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Pages:
8
School:
University Of South Carolina-Columbia
Course:
Musc 110 - Introduction to Music
Introduction to Music Documents

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INSTRUCTOR S MANUAL CHAPTER 31 THREE AMERICAN VOICES COMPOSERS AND COMPOSITIONS IVES A Historical Background Like most precocious youths Charles Ives was an active adolescent Having studied music for years with his father he began taking organ lessons at the age of eleven and by the time he was fourteen he was the regular organist at the Second Congregational Church in his hometown of Danbury Connecticut Ives was not only musically inclined but also quite an athlete At the age of fifteen he discovered the new game of football and quickly became the captain of his high school team and its star player in one game scoring fourteen touchdowns It seems like he had time for just about everything except his studies and he went from receiving accolades as an honor student to barely scraping by Burkholder Tunes 39 Swafford 58 As a young musician Charlie as his family and friends called him made a practice of collecting musical scores as well as studying compositions and performing organ recitals During these concerts he played works in theme and variations form by a number of composers Therefore it was natural for him to turn to this familiar musical form when he composed Variations on America in either 1891 or early 1892 Scholars have noted that Ives based each of the variations on highly reputable models that he had studied and performed This composition was not a tongue in cheek tweak at the patriotic sensibilities of his neighbors but represented the best compositional efforts he could achieve at the age of seventeen Burkholder Tunes 22 Swafford 64 Ives first played the composition as part of an organ recital he gave in the near by town of Brewster New York on February 17 1891 He did not play the composition in the manner we are accustomed to hear it today His father would not allow Charles to play the polonaise Variation 4 because he thought it too European for his American audience Charles had also composed an interlude that had a canon in three different keys but his



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