Abstract
Abstract The last fifteen years or so have seen major reconsideration of Charles Ives and his place in music history. Scholars have examined both the musical influences on the composer, revealing a stronger debt to the European tradition than had been previously thought, and the hotly debated chronology of his work. This paper reflected on the recent revisionism while offering another new perspective that further informs Ives’s image. Rejecting the customary relegation of his most innovative works to a separate category known as ‘the experiments’, the paper presented a unified view of Ives that places all of his musical ideals and practices under a single rubric. It used analyses of Ives’s musical and literary texts to portray a musical mind resistant to easy labels, and a compositional catalogue in which the notion of ‘experiment’ can have only very limited application. Ultimately it lends further support to the revised view of Ives’s artistic debts, while offering further refutation of any radically new compositional chronology.
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