TRANSCENDENTALISM VS. FUTURISM
Partly in connection with Henry Cowell and his New Music Quarterly, a recognizable school of American maximalists or “ultramoderns”—Carl Ruggles (1876–1971), Wallingford Riegger (1885–1961), John J. Becker (1886–1961), Dane Rudhyar (1895–1985), Ruth Crawford (or Ruth Crawford Seeger, 1901–1953), and Cowell himself—briefly came into view, seemingly ranged around Ives. If Ives seemed to dominate the group in terms of publications, it was partly because he was bankrolling the venture with his business fortune and Cowell was showing his gratitude. Nevertheless, the school was a coherent one. Its members shared both a technical orientation and an expressive purpose, which like Ives’s own may be jointly summed up as transcendental maximalism. All, that is, employed radical means toward spiritual ends.
- 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. 21 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005011.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 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005011.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 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-005011.xml
