REACHING—AND TRANSCENDING—THE LIMIT

Chapter:

CHAPTER 5 Containing Multitudes (Transcendentalism, II)

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

Like most romantics in the tacitly (or passively) German tradition, Ives believed that the highest musical expression transcended all particulars, but that particulars could be an avenue toward that transcendence. The quest for universal transcendence was, for Ives, as effective a spur to stylistic maximalism as the race to the patent office was for others. So it comes as no surprise that Ives’s most maximalistic conception was also his most transcendent: nothing short of a “Universe in Tones.”

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. 30 Nov. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005008.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 30 Nov. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005008.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 30 Nov. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005008.xml