MANNER AND SUBSTANCE

Chapter:

CHAPTER 5 Containing Multitudes (Transcendentalism, II)

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

At the very least, the obsession with dating (even to the extent that Ives himself, in his postcomposing phase, may have abetted it) was fundamentally un-Ivesian, since it was wholly concerned with “manner” (the way something was said), rather than “substance” (the something itself). To understand the “something” we need to know what composers Ives took as expressive examples. The answer to this question may be surprising, since Ives’s models of substance were none of them composers who shared Ives’s interest in a radical manner. Rather, they were composers who expressed orthodox spiritual values, and did so in a way that by the early twentieth century was deemed distinctly old-fashioned, if not downright unfashionable.

Citation (MLA):

Richard Taruskin. "Chapter 5 Containing Multitudes (Transcendentalism, II)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005006.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 5 Containing Multitudes (Transcendentalism, II). In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005006.xml

Citation (Chicago):

Richard Taruskin. "Chapter 5 Containing Multitudes (Transcendentalism, II)." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005006.xml