MORE PATENT-OFFICE MODERNISM

Chapter:

CHAPTER 5 Containing Multitudes (Transcendentalism, II)

Source:

MUSIC IN THE EARLY TWENTIETH CENTURY

Author(s):

Richard Taruskin

Such a music was Julián Carrillo’s. Compared with Ives’s apparent caution, his stance with regard to microtonality was uncompromising indeed. It required an enormous investment in hardware, a new system of notation, and the pitiless sacrifice of the common practice toward which Ives showed such solicitude. It was the stance of true modernism, against which Ives’s more moderate posture can be viewed in relief.

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-div1-005010.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-div1-005010.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-div1-005010.xml