Reading Charles Ives

读查尔斯·艾夫斯

• 批准号: AH/E003958/1
• 负责人: David Nicholls
• 金额: $ 4.56万
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE003958%2F1
• 关键词: Reading; Charles; Ives

Charles Ives (1874-1954) was America's first composer of significance. Since his centenary in 1974, knowledge concerning his life and work has expanded enormously, resulting in a huge increase in the Ivesian scholarly literature. Ives has become a much-discussed figure, and a focus of both general interest and, particularly, university teaching and research. However, the sheer volume of new material has paradoxically led overall to a lessening of understanding, not least because of the changing views of Ives's position vis-à-vis Romanticism and the twentieth century, and the controversy concerning the dating of his compositions. Consequently, there is a continued reliance on the earlier, 'default,' quasi-mythological sources concerning Ives, all of which date from the approximate period 1930-1960, rather than the adoption of the more nuanced and complex views that have emerged since 1985. As one scholar put it, commenting on the book proposal for The Charles Ives Reader, 'in reality, there are many and different assessments of Ives and his music.'During his compositional lifetime Ives was almost totally ignored by the musical and critical establishment. Following the self-publication during the 1920s of three major texts, his work began to attract attention, not least from composers such as Henry Cowell who were at that time working at the more radical end of the compositional spectrum. Thus, as J. Peter Burkholder suggested in 1988, Ives may have been attempting 'to live up to the image Cowell and others had of [him] as a great innovator.' In striking contrast to the image painted in earlier writings--whether by Ives or his supporter Henry Bellamann--he denies the past and instead stresses his independence from existing traditions. Ives was, of course, very much influenced by the music of his precursors and contemporaries: a number of studies have demonstrated his indebtedness to such composers as Dvorak, Tchaikovsky, Horatio Parker, and Debussy. But because it was inconvenient in the 1930s for the 'modernist' Ives to be identified with such 'conservative' influences, he disavowed them and instead (in Burkholder's words) 'credited his originality to his father George--not just his use of individual techniques such as polytonality and quarter-tones, but the very stance of open-mindedness that made him so original.' It is this quasi-mythological 'modernist' image that persists to the present day, despite the scholarship of Burkholder, Block, Sherwood, and others, that has emerged since ca. 1985, and which has questioned from multiple perspectives Ives's earlier reputation. This project aims to reverse the situation, by collating in a single volume approximately 60 primary and secondary texts by or about Ives, each fully contextualised through newly written critical editorial introductions, commentaries, and annotations. The overall objective is the publication of a substantial (100,000-word) book--of which approximately 30,000 words will be newly written material--which will enhance, and bring fully up to date, knowledge and understanding concerning a key figure in twentieth-century American culture. Again quoting the scholar cited above, 'students need to do substantial reading on the composer that is oftentimes scattered across an impractical number of sources: among many arguments in its favor, this book would eliminate that impediment...[the editorial] remarks will contribute a valuable critical voice and a useful narrative thread.' In short, therefore, the project will result in a genuinely contemporary 'reading' of Charles Ives and his work.

查尔斯·艾夫斯（Charles Ives，1874- 1954年）是美国的第一位重要作曲家。自1974年百年纪念以来，关于他的生活和工作的知识已大大扩展，从而导致了Ivesian科学文献的巨大增长。艾夫斯（Ives）已成为一个备受关注的人物，是普遍兴趣，尤其是大学教学和研究的重点。但是，新材料的庞大数量在整体上导致了人们对理解的降低，这尤其是因为艾夫斯对浪漫主义和二十世纪的立场的看法不断变化，以及关于其作品的日期的争议。因此，在较早的“违约”中，涉及艾夫斯的较早的人类学来源一直存在，所有这些都可以追溯到1930 - 1960年的大约时间，而不是在1985年以来出现了自1985年以来出现的更细微和复杂的观点。音乐和批判性机构几乎完全忽略了Ives的构图。在1920年代的三个主要文本中的自我出版物之后，他的作品开始引起人们的关注，尤其是从当时在构图谱系更激进的末日工作的作曲家等作曲家。正如J. Peter Burkholder在1988年建议的那样，Ives可能一直在努力“辜负Cowell和其他人作为伟大的创新者的形象”。与早期著作中画的形象形成鲜明对比的是，无论是艾夫斯还是他的支持者亨利·贝拉曼（Henry Bellamann） - 他否认了过去，而是强调了他远离现有传统的独立性。当然，艾夫斯（Ives）受到他的前代和当代人的音乐的影响很大：许多研究表明，他对德沃克（Dvorak），特乔科夫斯基（Tchaikovsky），霍拉蒂奥·帕克（Horatio Parker）和德布斯（Debussy）等作曲家的债务表明。但是，由于它是在1930年代继承的，因为“现代主义”的艾夫斯（Ives）具有这种“保守”的影响，因此他拒绝了它们，而（用伯克霍尔德（Burkholder）的话来说）将他的独创性归功于他的父亲乔治（George），而不仅仅是他对多态和四分之一态度的个人技术的使用，而是始终如一的态度，这使他成为了原始的原始技术。正是这种准官员的“现代主义”形象一直持续到今天，伯克霍尔德（Blakholder），布洛克（Blockholder），舍伍德（Sherwood）和其他人的科学始终出现。 1985年，从多个角度质疑Ives的早期声誉。该项目的目的是通过在IVE或周围的单个卷中碰撞大约60个主要和次要文本，每个卷都通过新书面的关键社论介绍，评论和注释来完全背景。总体目的是出版一本大量（100,000字）的书（大约30,000个单词是新书的材料），该书将增强，并充分提高20世纪美国文化中关键人物的最新知识，知识和理解。再次引用上面引用的学校：“学生需要对通常散布在不切实际的来源的作曲家上进行大量阅读：在许多方面，这本书将消除这种障碍……[社论]提醒将贡献一个有价值的关键声音和有用的叙述。”因此，简而言之，该项目将导致查尔斯·艾夫斯（Charles Ives）及其作品的真正当代“阅读”。