ives charles schoffman nachum serialism in the work of

Upload: esteban-de-boeck

Post on 14-Apr-2018

220 views

Category:

Documents


0 download

TRANSCRIPT

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    1/13

    Serialism in the Works of Charles IvesAuthor(s): Nachum Schoffman and Charles IvesSource: Tempo, New Series, No. 138 (Sep., 1981), pp. 21-32Published by: Cambridge University PressStable URL: http://www.jstor.org/stable/946249 .

    Accessed: 13/04/2011 13:59

    Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless

    you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you

    may use content in the JSTOR archive only for your personal, non-commercial use.

    Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at .http://www.jstor.org/action/showPublisher?publisherCode=cup. .

    Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed

    page of such transmission.

    JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of

    content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms

    of scholarship. For more information about JSTOR, please contact [email protected].

    Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Tempo.

    http://www.jstor.org

    http://www.jstor.org/action/showPublisher?publisherCode=cuphttp://www.jstor.org/stable/946249?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/action/showPublisher?publisherCode=cuphttp://www.jstor.org/action/showPublisher?publisherCode=cuphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/stable/946249?origin=JSTOR-pdfhttp://www.jstor.org/action/showPublisher?publisherCode=cup
  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    2/13

    SERIALISM I N T H E W O R K S O FCHARLES I V E S

    NachumSchoffmanIThas become a commonplace of musical historiography to point out that CharlesIves's experiments antedate the currency of most of the innovations of 2oth-century compositional technique. But such a statement, when unsubstantiated bymusical facts, understates the case, and leaves a vaguely derogatory impression ofdilettantism. Ives accomplished more than merely experimenting with newtechniques. He understood and assimilated the far-reaching implications of hisinnovations, saw their limitations and shortcomings, developed from them satis-factory and well-synthesized forms, and moulded them into a language to expresshis world view.Ives was convinced that the received tradition was insufficient for the rep-resentation of reality. In spite of the fact that he was either ignored or ridiculed,he insisted upon inventing what were, for his time, new musical materials:atonal melodic lines, non-tertial chords, rhythmic patterns devoid of meter. Hesaw that such materials required new methods of organization, and one of thesewas serialism.Krenek has defined serialism as follows:Serialism is the compositional procedure by which an order of succession is established for the valuesappropriate to one or more parameters (components) of the musical process; these orders ofsuccession or permutations of them are then repeated throughout the composition.1The second part of this definition, stipulating repetition throughout the com-position, represents a stricture unnecessary for the present purpose, which ismerely to indicate the structuring of some of Ives's musical materials as series.Thus, several consecutive repetitions of a series, even if they occupy only a smallsection of a work, will suffice here. Single, unrepeated statements of an order ofsuccession will be considered evidence of serialism if:

    I) there are 12 consecutive notes constituting all 12 pitch-classes, withoutrepetitions or omissions.2) the order of values represents a clear arithmetical progression.3) the order of values is a palindrome.As we shall see, some of these arithmetical progressions or palindromes are notrepeated, for the simple reason that they extend over the whole length of a piece.

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    3/13

    22 TEMPOIves was the first 2oth-century composer to realize the possibility of serialorganization. Examination of his works reveals a distinct consciousness of theserial idea, and many kinds of applications of it. The following discussion isnecessarily limited to the serial aspects of several sections from Ives's works.Complete analyses, while of great interest, would inflate this essay out of allproportion. The intention is more modest: to demonstrate the presence ofpurposeful serialism, and to present some evidence of Ives's attitude towards it.

    Twelhe- oneRowsOne of the earliest examples occurs in ToneRoadsNo. i (191 I). The sectionof m. 2 1-3 2 exhibits the consistent use of a dodecaphonic row, albeit only in theflute part. This is shown in Ex. i,2 in which the statements of the row have beenindicated by brackets.Ex.1

    Flute #I if

    This example shows, at a surprisingly early date, the application of all the basicprinciples of dodecaphony: preservation of the order of the pitches throughdifferent rhythms and phrasings; octave equivalence; and abstention from re-peating a pitch until all I 2 have been sounded-with one exception: in the fourthstatement of the row, m. 27, the second note, Cg, is missing. This C# is re-instated, as it were, at the end of the section, in m. 32.Tone RoadsNo.3 (I 91) begins with the solo chimes playing a twelve-tonerow. Other parts (not dodecaphonic) enter only after the chimes have com-pleted the first statement of the row.As a final example, we may examine an excerpt from the song On the Anti-podes (I 9 I --1923): the voice part of the closing verse, m. 28-34. This is shownin Example 2.' The notation here is explained in a footnote to the song:The smaller notes in the voice part throughout are for lower voice, or voices, if there be a chorus.4

    Ex.2[28]Largo-maestoso 1300 -

    Man!_ we askyou! Is Na - ture no-thing but a - tom - ic cos - mic cy - cles-

    a t -ir r en ni -al an -ti - po - es?- wound the per - en - ni - al an - ti - po - des?

    The principal voice, written in large notes, constitutes a classic I 2-tone row, inin which no pitch-class is omitted, and none is repeated. The subsidiary voice,written in small notes, constitutes another such row: if we construe the F#in m. 30 as belonging to both rows, as if the two voices had converged here on a

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    4/13

    SERIALISMIN IVESunison, then the lower voice also contains all 12 pitch classes except A-and thisA is supplied by the final note in the upper voice.Pitch SeriesIn many works of Ives, the order of a series of pitches, often those of amusical quotation, is preserved through several developments and reworkings.In some cases, this may be construed as thematic consistency, but not necessarilyas the operation of a pitch series.But in the song Aeschylusand Sophocles 1922), for voice, piano, and stringquartet, there can be no doubt. The beginning of this song is shown in Example 35.Ex.3Piano T

    /aio4b 3Adagio ,

    viol,4_____ 1,j ,_,iolias, 0 J~~~~--- I- ^ - --- t-- ? - P PW3P~P,,lln */ 4 ~~~~~~~~~~~~~~~~~~~~~ ^^" --- _. .--,.,o,.~~~~~~~~~7 ~.. > - f^j-^r- 0LL r

    The pitch series can be seen in the first i i notes of the first violin part. The orderof pitches is itself almost a complete palindrome, centered on the seventh note.(In the version in the piano part, the palindrome is actually complete.) The fugalentrances of the string parts, and the top notes of the piano part, in a differentrhythm, all consist of repetitions of the pitch series. These five voices are infive different transpositions of the series, intended, in accordance with the sub-ject of the song, to represent five different Greek modes:It [the string quartet] is in four Greek Modes (diatonic genus) Dorian, Phrygian, Hypolydian,Mixolydian; the upper line of the piano part in the first seven measures is in the Hypophrygian.6Throughout the song, the string quartet continues to adhere to this order ofpitches, although the rhythms and phrasingsare new and varied. (From m. 9 on,the voice and piano have different material.)ChordSeriesHaving abandoned, for the most part, traditional harmony, Ives occasionallypredetermined a succession of chords-often, but not always, with its own inter-nal symmetries-and employed this as a series in the construction of the work. Anexample is the organ part in the second movement of ThreeHarvestHome Chorales

    (i 898 ?- I912) entitled 'Lord of the Harvest'. This is a continuous palindrome ofchords repeated throughout the piece, except for the coda, m. 52-6o. Over apedal point C-sharp, the roots of the triads descend through the degrees of awhole-tone scale, and then ascend in reverse order: C$-B-A-G-F-E~-C#-ED-F-G-A-B-CS. As each triad changes from major to minor, an inner voice is alwaysmoving through a descending chromatic scale.The piano part of the song TheCage(1 906) consists predominantly of fourth-chords progressing in parallel motion. In his comments on this song, Ives men-tions its lack of tonality:Technically the principal thing in this movement is to show that a song does not necessarily have tobe in any one key to make musical sense. To make music in no particular key has a nice namenowadays-'atonality'.7

    23

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    5/13

    TEMPOWhat he does not mention is the fact that, failing tonality, the progressions aregiven coherence by the order of chords in a series.The piano part of the song is shown in Example 48. Statements of the seriesEx.4: The Cage, piaio part.

    evenly and mechanically,no r itard., decresc.,accel.etc.(reseat 2 or3 times) I I

    Pian

    ,i0 f . -2 3 4 5 6 7 la 2a 3a 4a 5a 6a 7a

    10,~~~~~ ~~tIslb X 2b YI Yz 3b Z, Z2 Z, Z4 5b la 2a 3a(7)

    are indicated by brackets, and each chord has been labeled for convenience ofdescription. The song begins with a statement of the original chord series,chords 1-7, repeated two or three times. Chords 1-6 are fourth-chords in parallelmotion, and the series culminates in chord 7 by expanding into a different andlarger chord. (For a discussion of the rhythmic pattern here, see below.) Thecontinuation, chords ia-7a (over which the voice part enters) is again a statementof the same series, transposed up a fourth. The next statement, beginning withchord ib, is exanded and developed. Chords ib, 2b, 3b, and gb are the appro-priate chords of the series, now transposed up two fourths. The chords markedX, Y, and Z are interpolations of one, two, and four chords respectively, be-tween the members of the series. The X- and Y-chords are simply additionalfourth-chords, each moving up a semitone in parallel motion from its predeces-sor. The relationship between the chords marked Z and the series is more tenuous.Chord Zi repeats chord 2b; and chords Z2, Z3, and Z4 are fifth-chords in des-cending parallel motion. The whole Z-group may be seen as a paraphraseof thegroup 2b-3b-4b. Chord sb is the appropriate chord in the appropriate place,but it also happens to be identical with Chord Y2. This statement of the seriesconcludes with chord (7), an exaggeration of the expansion and change of intervalcontent of the original chord 7; chord (7) marks the climax of the piece. Afterthis, a restatement of the series ia-2a-3a begins, but it is cut off, and left hangingin the air.In some cases, the interval content of the chords is arranged as a palindromeof expanding and contracting intervals. Ives described this as follows:So-half-tone chords opening up [into] wider and wider chords, and back again:

    This may not be a nice way to write music, but it's one way !-and who knows the only real niceway?9For example, in Psalm90o(1896-190 ) verse 9: 'For all our days are passedaway in thy wrath: we spend our years as a tale that is told', begins on a unison;expands through successively larger intervals until the middle of the verse; thencontracts in reverse order, to end on a unison. This interval-palindrome, like

    24

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    6/13

    SERIALISM IN IVESmost in Ives's works, is also a duration-palindrome. Fully-developed chordpalindromes, in which both interval content and duration constitute palin-dromic series, occur in the songs Soliloquy and On theAntipodes,described below.DurationSeriesIves antedates other innovators in the construction of series on temporal aswell as pitch elements. As he tells us:And a wild idea came to me (it seemed wild then, but not now)-to make a piece that no perman-ent-wave conductor (of those days) could conduct. I stuck in some of my old piano cycle rhythmstudies-2-3- -7- 1i-7-5-3-2-etc. 10

    An example of a duration series occurs in the first measure of The Cage(I906). (See Ex. 5.) When this series is repeated two or three times, accordingto the instructions, the last chord, a whole-note, takes its logical place at thebeginning of the series, so that the pattern is perceived as that shown in Ex. g.

    Ex.5:after The Cage, m.l.IIo J.J J..,lIn the Cadenza in Overthe Pavementsi906) m. 81-92, the clarinet, bassoon,and trumpet play chords, whose rhythmic pattern is shown in Ex.6.1 Ifwe ignoreEX.6: after Over the Pavements,m.81-92.

    .14JJJTj l3J 13J!JJJ;\JJi3Jthe bar lines, and count the number of sixteenth-notes in each chord, the serialpattern emerges. The individual durations decrease as the number of repetitionsof each duration increases. Using digits to represent the number of sixteenth-notes in the duration of each chord, the series may be schematically displayedas follows:

    777766666g5g5553333333333222222222222

    Another kind of duration series is found in the unfinished sketch of the songVoteor Names(191 2). The same chord is repeated over and over in the rhythmicpattern shown in Ex.7.12 The numerals g, 6 and 7 cause a certain ambiguityEx.7: fter Vote for Names,m.2-3. r 6 7

    which, because of the unfinished state of the manuscript, can never be resolved.But the principle is clear: increasing subdivisions of a pulse. It is probable, butnot certain, from the information in the sketch that this pattern was to be re-peated throughout the piece.Series in Other ElementsSerial organization is not always confined to pitch and duration. For ex-ample, in The UnansweredQuestion i 906), tempo and dynamics together form a

    25

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    7/13

    TEMPOcoherent series. The strings and trumpet solo play throughout in a 'pedal point'.as it were, of pppand Largomoltosempre. Against this, the interludes of the wood-wind group are respectively as follows:P AdagiomP AndantemF AllegrettoF-FF AllegroF-FF-sF Allegro moltoFF-FFF-FFFF Molto agitando, con fuoco

    Even the use of musical quotations has served as an element for serialorganization. As Henderson has pointed out,13 in the first movement of ThreePlaces n NewEngland I 903-1914), entitled 'The St. Gauden's in Boston Common',the various quotations of popular American songs form a palindrome.Serialismn SeveralElements t OnceThe most interesting, and the most 'real', of Ives's structures, are those inwhich serial organization encompasses several elements together. The followingquotation shows that he was conscious of the possible correlation between thenumerical values of different musical elements.If you can have a chord of three notes and [one of] four, alternating and following, why notmeasures of 3/4 then 4/4, alternating and following?14

    Here is his description of one of his musical structures:To get a composite sounding noise in some reasonable order was not hard to do. In this . . . therhythms are used in a kind of chemical order:

    The deep bells give o (1)Basses starting on C,up[by]half [tones] d J (2)Basses starting on CO d o d (3)Cellos starting on D J J J (4)Cellos starting on D J J J J J (5)

    and so on, all the way through the orchestra (one piccolo playing is).15An example occurs in the second movement of String Quartet No.2 (i907-19 3). At m. 66-74, there is a canon, the melodic line of which is both a pitch-and a duration-series. The beginning of this is shown in Ex. 8.16 The pitches con-stitute repetitions of an eleven-tone row, indicated in our example by brackets;the twelfth 'missing' pitch is in each case the first note. The row is presented inthree different transpositions by the first violin, viola, and cello. (The secondviolin does not participate in this canon; it plays accompanying chords.)

    Ex.8

    |LV5#CS 2 - S! i 1 t

    There are several deviations from this series. Those of single notes may be mis-prints. The more lengthy deviations are further transpositions of the series:Violin I, m. 69, second quarter; Cello, m 72, second quarter ff.The rhythmic pattern is also serial: the quarter-note beats are divided into

    26

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    8/13

    SERIALISMIN IVES 27successively larger numbers of subdivisions, and this duration series is alsorepeated over and over. Since the two series are of different lengths, and notmultiples of each other, the simultaneous operation of both series continuouslyproduces new combinations of pitch and duration. After each of the threevoices has played the duration series four times, and the pitch series 71-times, thecanon breaks down, in m. 72-74. The pitches no longer conform to the series;the first violin and viola conclude the canon by playing the duration series inreverse order; and the cello begins a new duration series which is cut off beforeit can run its full course.

    In the song Soliloquy (1907),17 most of the piano part, shown in Ex.9,18 is apalindrome of chords, which is also a palindrome of intervals, number of notesin each chord, directions of arpeggiation, and durations. These symmetries areAEx.9: Soliloquy, m.2-19. A creso. e accel. p po

    i ,/P ^

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    9/13

    TEMPOtwo chords indicate that the notes A and C in the first (and last) chord, and thenote C: in the second (and penultimate) chord, whose presence is necessary forthe symmetry of the duration series, do not preclude the appearance of the ap-propriate intervals: -+3+- 13, and E-F is a minor ninth; d-+6-=i i, andG-F: is a major seventh).The song On the AntipodesI91-1923)19 is entirely based on a monumentalpalindrome of chords, shown in Ex. I i,20 which is also a palindrome of intervals,number of notes in each chord, and rhythmic patterns. These symmetries areshown in schematic form in Ex. I 2, where the numbers represent the number ofsemitones between consecutive pitches in each chord. The palindrome is exact inall but a few details: the first and last chords are different, as are the ninth and thir-teenth; the mid-point of the duration series does not quite correspond to thatof the chord series. On the other hand, the absence of a low C# in the twentiethchord, to correspond to that in the third chord, is probably a misprint.

    Ex.11: Onthe Antipodes,m.1-4.Adagio maestoso

    Primo

    .?

    Secondo,

    The series appears three times: at the beginning of the song, at the mid-point, and at the end. The statement of the series at the end of the song, m. 28-34,is altered so that all 21 chords have the bass C, and corresponds to the last verse,sung on the twelve-tone rows described above. But, over and above this, theharmonic progressions of the entire song constitute one large-scale statement ofthis same chord series, so that the original palindrome serves as the beginning,mid-point, and ending of a huge statement of itself.

    28

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    10/13

    SERIALISMIN IVES 29Ex.12: after On the Antipodes,ml-4.

    I

    l

    l1l

    3 1 3I 23 2 1 2 38 1 3

    3 2 1 2 35 4 3 1 3 4 55 3 2 1 2 3 57 6 5 4 3 1 1 123 4 5 76 5 5 3 2 1 2 1 2 22 3 5 6 67 7 6 5 4 3 3I I 123 4 5 5 77 6 5 5 3 2 1 2 1 222 3 5 6 67 7 6 5 54 3 3 I 1 123 4 5 5 7 117 6 5 5 4 3 2 1 2 1 222 345 66 11i7 7 6 5 54 3 3 1 I 1 23 45 5 5 7 117 6 5 5 43 2 1 2 1 222 3 4 5 6 6 117 7 6 5 5 4 23 3 1 1 1 2 3 2 4 5 5 5 7 117 6 5 5 43 62 1 2 1 1 22 63 4 5 6 6 117 7 6 5 5 4 10 3 3 1 1 2.2 3 10 4 5 5 7 11

    Serialism as RepresentationIves believed that the traditional structures of conventional music were nottrue enough to serve as representations of reality. Thus, he felt that his innova-tions were not arbitrary, but rather the necessary means for expressing his ideaswith fidelity. Many of his serial structures are, according to his own testimony,meant to be representations of ideas, motions, or objects.He described the idea of a palindrome of intervals in these terms:This was about the time the Subwaywas started,and 'blocks' were regular hings-getting out ofthe block and back nto it again. So-half-tone chordsopeningup [into] wider and wider chords,and backagain.21In the sixth verse of TheMasses I 9 1 )22 the text is:As the tribesof the ageswanderedand followed the stars-whence come the manydwelling placesof the world.23

    The music to this is dodecaphonic, and Ives describes it as follows:The planof this, in the orchestraparts,is to have each . . . complete the 12 notes (eachon a differ-ent system). . . andhold the lastof the 12 . . . asfinding ts star.24The duration series in VoteforNames see Ex. 7) is labeled: 'etc. same chordhit hard over & over Hot Air Election Slogan'.25 In The UnansweredQuestion, heimperturbable strings, playing softly and slowly throughout, represent 'the silenceof the seers'. The trumpet solo asks, over and over, the 'Perennial Question ofExistence', and the woodwinds, which play with increasing speed and volume,represent the 'Fighting Answerers'.26TheCagecontains, as shown above, several serial elements. These are rep-resentations, as can be seen by reference to the text:

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    11/13

    TEMPOA leopard went around his cage from one side back to the other side; he stopped only when thekeeper came around with meat; A boy who had been there three hours began to wonder, 'Is lifeanything like that?'The initial group of seven chords, which is both a pitch and a duration series, is'caged' between the two repeat signs. When it is repeated 'evenly and mechanic-ally' it represents the pacing of the caged animal. The back-and-forth motion ofthe voice part, and the constant reiteration of the series of chords, are furtherrepresentations of the same thing. In the version for chamber orchestra,27 thereis also a drum part, of which Ives says: 'A drum is supposed to be the leopard'sfeet going pro and con' .28In the last phrase, both voice andpiano begin a recapitu-lation, including a duration series similar to that in the first measure. But allthese are cut off before they are completed: a musical counterpart to the questionin the text.Ives apparently felt that the chord series in On theAntipodeswas an expressionof a cosmic idea. There is evidence that he had worked it out as early as 1904.29He also used it in his unfinished UniverseSymphony,where it represents 'theeternities' or 'the relentless processes of nature, of all time, of the universe'.30In On the Antipodes, t depicts a Nature full of contradictions (the 'antipodes' ofthe text) but containing an immanent (serial) logic.Inconsistenciesn the SeriesIn all the serial structures presented here-and, indeed, in all of Ives's serialstructures-there are additional elements extraneous to the series, and deviationsfrom the series. A serial pattern is never carried out completely and consistently.This is not due to carelessness, nor to caprice; it is purposeful, part of Ives'sattempt to make his music reflect reality.In Essays Before a Sonata, Ives presents his own version of the aesthetic prob-lem of content vs. form, which he calls 'substance' and 'manner'. He states:At any rate we are going to be arbitrary enough to claim, with no definite qualification, that sub-stance can be expressed in music, and that it is the only valuable thing in it.31'Manner', i.e., form, he considers to be secondary.This [the 'substance'] is appreciated by the intuition, and somehow translated into expression by'manner'-a process always less important than it seems.32Reality, he believed, should be represented, not mechanically or schematically,but as a not-quite-consistent process, with all its contradictions and inconsis-tencies: as Ives described it: ' . . . not something that happens, but the way some-thing happens'.3Ives proudly describes his serial patterns (here called 'cycles') as not beingautomatic repetitions:Anyway, no mollycoddle mind . . . could like it, play it, or make any sense [out] of it-there'stoo much sense in it for that. The cycles grow, expand, ebb, but never literally repeat.34His most definite statement on the subject follows directly upon his descriptionof the dodecaphonic structure of the sixth verse in TheMasses:Occasionally something made in this calculated, diagram, design way may have a place in music, if itis used primarily to carry out an idea ... as in the above, but generally ... or alone . . . it is a weaksubstitute for inspiration or music. It's too easy-any high-school student (unmusical) with a pad,pencil, compass and logarithm table, and a mild knowledge of sounds and instruments (blown or hit)could do it. It's an artificial process without strength, though it may sound busy and noisy. Thiswall-paper design music is not as big as a natural, mushy ballad.35

    30

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    12/13

    SERIALISM IN IVESConclusionThe fact that Ives's employment of series antedates the supposed advent ofserialism, while interesting in itself, is no more than a chronological fact. Ivesnot only discovered the possibility of pitch and duration series, and of serialismof several elements at once. He saw immediately that serialism, although itsolves the problem of the organization of non-tonal musical materials, is danger-ous if used too consistently-that it is too easy.Ives saw his serialism as one, and only one, of the invented resources at hisdisposal for the expression of reality. He believed that all such innovations werejustified, even though they were rejected by his contemporaries, because nolimits of convention should be allowed to stand in the way of the expression ofunconditional truth, with all its attendant contradictions. He was wise enough toperceive that serialism itself might become such a convention.NOTES

    I Ernst Krenek, 'Serialism', in John Vinton, ed., Dictionary of ContemporaryMusic (N.Y.:Dutton, I97 ) p.670.2 Tone RoadsNo. i (Peer, c. 1949)3 On the Antipodes, n I9 Songs(New Music 9/I: October 1935) No. 8. The first edition of thiswas mistakenly entitled 'i8 Songs' although it contained nineteen. This was rectified insubsequent editions.4 Footnote to the song On the Antipodes, 19 Songs, p.44.S Aeschylusand Sophocles, n 19 Songs, No.6. For a detailed analysis of this song, see NachumSchoffman, The Songs of CharlesIves (Doctoral Dissertation. The Hebrew University, 1977),pp. 185-208.6 Explanatory notes, 19 Songs, p. 52. For a detailed explanation of the manner in which thepolytonality of this passage conforms to Greek theory, see Schoffman, The Songsof CharlesIves,pp. 186-189.7 Charles Ives, Memos,ed. John Kirkpatrick (N.Y.: Norton, 1972) p. 56.8 TheCage, in i I4 Songs(Redding, Conn.: privately published, 1923) No. 64. I have correcteda misprint in 1I4 Songs: the sixth chord in m. I should be a sixteenth-note, and not an eighth-note. It appears correctly in the version for chamber orchestra: In the Cage, in Setfor Theatreor ChamberOrchestra i906-191 I) New Music 5/2: January 1932. For a detailed analysis of thissong, see Schoffman, TheSongs of CharlesIves, pp. 28-35.9 Ives, Memos,p. 64.10 Ives, Memos, p. 101.I After Scherzo:Over the Pavementsor ChamberOrchestra (Peer, c I954).12 After 'Vote for Names', Negative Q2636 in the Ives Collection, Yale University Library. For adetailed analysis see Nachum Schoffman, 'Charles Ives's Song "Vote for Names'", (CurrentMusicology23/1977: 56-68).13 Clayton Wilson Henderson, Quotationas a Style Element n the Musicof Charles Ives (DoctoralDissertation, Washington University, I969) pp. 60-64; 'Ives' Use of Quotation', (MusicEducators ournal 61 / 2.: 24- 28).14 Ives, Memos,p. 140.15 Ives, Memos,p. 105.16 String QuartetNo. 2 (Peer, c 1954).17 Soliloquy,or a Studyin 7ths and Other Things, in 34 Songs (New Music 7/I: October 1933)No. 24. For detailed analyses of this song, see: Henry and Sidney Cowell, CharlesIvesand hisMusic(London: Oxford University Press, 1955) pp. I 57-I 59; Schoffman, The Songs of CharlesIves,pp. 46-52.18 The voice part is barred differently from the piano part. The numbering of the measures hererefers only to the bar lines in the piano part.I9 For a detailed analysis of this song, see Schoffman, TheSongsof CharlesIves, pp. 209-234.20 On the Antipodes, n I9 Songs, No. i 8.2 I Ives, Memos,p. 64.22 This refers to the original version, for chorus and orchestra. In the later arrangement forvoice and piano (I92 I) the sixth verse was deleted.

    31

  • 7/30/2019 Ives Charles Schoffman Nachum Serialism in the Work Of

    13/13

    TEMPO23 Ives, Memos,p. 164.24 Ives, Memos,p. 164.2S Schoffman, 'Charles Ives's Song "Vote for Names"', p. S8.26 Cowell, CharlesIvesand his Music, p. 177.27 See note 8.28 Ives, Memos,p. 56.29 John Kirkpatrick, A TemporaryMimeographedCatelogue of The Music Manuscriptsand RelatedMaterials of Charles Edward Ives, I874-1954 (New Haven: Yale University Library, I960)p. 210; Ives, Memos,pp. 265, 328.30o Kirkpatrick, Catalogue, p. 27.31 Charles Ives, EssaysBeforea Sonata and Other Writings,ed. Howard Boatwright (N.Y.: Norton,

    1962) p. 77.32 Ives, Essays,p. 75.33 Ives, Memos,p. 57.34 Ives, Memos,p. 101 .35 Ives, Memos,p. I64.

    ACKNOWLEDGEMENTSOn the Antipodes,Aeschylusand Sophocles,The Cage, and Soliloquyreproduced by permission ofTheodore Presser Co.Tone Roads No.I, Over the Pavements,and String Quartet No.2 reproduced by permission ofPeer International Corporation.Votefor Namesreproduced by permission of Yale University Library Publications Office.

    C - C h a r l e s I v e s ..::|- ! The following works by Charles Ives are published by G. Schirmer Ltd. and are available-from all good music dealers.OrchestralFourth of July (score) ?8.20Symphony No.3 (score) ?10.95Symphony No.4 (score) ?19.25Washington's Birthday (score) ?8.20Concert BandThe Alcotts (Thurston) ?9.ooMarch Omega Lamda Chi (Brion) ?9.00Variations on "Jerusalem the Golden" (Brion) ?9.00InstrumentalSonata No.2 (Concord) (piano solo) ?6.55Sonata No.2 (violin and piano) ?6.85Sonata No.4 (Children's Day at the Camp Meeting) (violin and piano) ?4.35Waltz-Rondo (Kirkpatrick & Cox) (piano solo) ?4.35Choral and VocalCrossing the Bar (SATB soli, SATB chorus plus organ) ?o.35Easter Carol (Kirkpatrick) (SATB soli, SATB chorus plus organ) ?2.15Psalm No.67 (SSAATTBB) ?0.35Serenity (medium voice and piano) ?o.95; (unison) ?0.20Seven Songs (medium voice and piano) ?3.25Three Songs (medium voice and piano) ?3.25For inspection copies please contact:

    g ,GSchirGner140 Strand, * London WC2R 1HG * 01-836 4011 ;-.

    32