Charles Ives (1874-1954) was probably one of the most psycho - intellectually brilliant, imaginative and flexible Americans to ever "walk the land of free-dom." A graduate of Yale, he became a multi-millio-naire in the American insurance industry, introducing brilliant innovations within that industry. He also, unlike a few composers, found the time and the money (being a shrewd and practical businessman) to get married and have children. His accomplishments for which he is best known, however, are those in the field of music. At the time of its composition, Ives' music was probably the most radically modern in history, and by itself had enough material to serve as the foundation of modern 20th century music. For example, at the turn of the century, this eccentric composer created band works featuring multiple melodies of multiple time signatures opposing and complimenting each other within the same piece. Ives was also a revolutionary atonal composer, who created, essentially without precedent, many atonal works that not only pre-date those of Schoenberg, but are just as sophisticated, and arguably even more so, than those of the 12-tone serialist.

Timaeus is not an independent work. Rather, it is the premier dialogue in an unfinished trilogy that also includes Critias, of which we have only a fragment, and Hermocrates, which is forecast in Critias but was presumably never written. There is demand, and has been for some time now, for an account of the relevance between the extant parts of the trilogy, namely the pertinence of Timaeus' cosmology to Critias' war story. Over time this demand has been refined. There is now a more specific interest in the relevance of the cosmology to what is commonly known as "Socrates' Request"-that is, what Socrates is asking of his interlocutors at the outset of the trilogy. While Charles Ives certainly addresses the former, more general demand, the primary concern in this book is with the latter, given the obvious aptness of Critias' contribution. Socrates, at least in part, is asking for a story about a war, and Critias provides it. What is far from obvious is how Timaeus' contribution fits into this picture. In order to illuminate the nature of this contribution, Ives first establishes that Socrates is asking for an encomium with two areas of focus, which will be taken up by Critias and Timaeus. Critias will speak on war-more precisely, on the war between ancient Athens and Atlantis. Timaeus will speak on the warriors' education as philosophers, and in particular on the formation and nature of the philosophical soul. To show the relevance of Timaeus' speech to the request, Ives highlights the educational aspects of the dialogue, charting the progress of an educational program that aims at health. The book especially focuses on the convalescence of intellect, which ushers in discussions of the medical dimensions of Timaeus' physics; the markedly Platonic project of becoming like god; and the comprehensively philosophical soul that leads its possessor to success on the battlefield. Socrates' Request and the Educational Narrative of the Timaeus is written for those interested in ancient philosophy and philosophy of education.

The Essays Before a Sonata was conceived by Ives as a preface of sorts to the composition. Ives's musings also explore the nature of music, discuss the source of a composer's impulses and inspiration, and offer some biting comments on celebrated masters. The writings in this collection now featuring a comprehensive index-allow readers entry into the brilliant mind that produced some of America's most innovative musical works."

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

The substance of Hawthorne is so dripping wet with the supernatural, the phantasmal, the mystical--so surcharged with adventures, from the deeper picturesque to the illusive fantastic, one unconsciously finds oneself thinking of him as a poet of greater imaginative impulse than Emerson or Thoreau. He was not a greater poet possibly than they--but a greater artist.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - Charles Ives (1874-1954) was probably one of the most psycho - intellectually brilliant, imaginative and flexible Americans to ever "walk the land of free-dom." A graduate of Yale, he became a multi-millio-naire in the American insurance industry, introducing brilliant innovations within that industry. He also, unlike a few composers, found the time and the money (being a shrewd and practical businessman) to get married and have children. His accomplishments for which he is best known, however, are those in the field of music. At the time of its composition, Ives' music was probably the most radically modern in history, and by itself had enough material to serve as the foundation of modern 20th century music. For example, at the turn of the century, this eccentric composer created band works featuring multiple melodies of multiple time signatures opposing and complimenting each other within the same piece. Ives was also a revolutionary atonal composer, who created, essentially without precedent, many atonal works that not only pre-date those of Schoenberg, but are just as sophisticated, and arguably even more so, than those of the 12-tone serialist.

The substance of Hawthorne is so dripping wet with the supernatural, the phantasmal, the mystical--so surcharged with adventures, from the deeper picturesque to the illusive fantastic, one unconsciously finds oneself thinking of him as a poet of greater imaginative impulse than Emerson or Thoreau. He was not a greater poet possibly than they--but a greater artist.

This authoritative volume of 453 letters written by and to composer Charles Ives (1874-1954) provides unparalleled insight into one of the most extraordinary and paradoxical careers in American music history. The most comprehensive collection of Ives's correspondence in print, this book opens a direct window on Ives's complex personality and his creative process. Though Ives spent much of his career out of the mainstream of professional music-making, he corresponded with a surprisingly large group of musicians and critics, including John J. Becker, Henry Bellamann, Leonard Bernstein, John Cage, Aaron Copland, Henry Cowell, Ingolf Dahl, Walter Damrosch, Lehman Engel, Clifton J. Furness, Lou Harrison, Bernard Herrmann, John Kirkpatrick, Serge Koussevitzky, John Lomax, Francesco Malipiero, Radiana Pazmor, Paul Rosenfeld, Carl Ruggles, E. Robert Schmitz, Nicolas Slonimsky, and Peter Yates.

In Bach in America, volume 5 of Bach Perspectives, nine scholars track Johann Sebastian Bach's reputation in America from an artist of relative obscurity to a cultural mainstay whose music has spread to all parts of the population, inspired a wealth of scholarship, captivated listeners, and inspired musicians.

More than a hundred years passed after Bach's death in 1750 before his music began to be known and appreciated in the United States. Barbara Owen surveys Bach's early reception in America and Matthew Dirst focuses on John Sullivan Dwight's role in advocating Bach's work. Michael Broyles considers the ways Bach's music came to be known in Boston and Mary J. Greer offers a counterpoint in her study of Bach's reception in New York.

The volume continues with Hans-Joachim Schulze's essay linking the American descendants of August Reinhold Bach to J. S. Bach through a common sixteenth-century ancestor. Christoph Wolff focuses on Bach's descendants in America, particularly Friederica Sophia Bach, the daughter of Bach's eldest son, Wilhelm Friedemann. Peter Wollny evaluates several manuscripts not included in Gerhard Herz's study of Bach Sources in America. The book concludes with examinations of Bach's considerable influence on American composers. Carol K. Baron compares the music of Bach and Charles Ives and Stephen A. Crist measures Bach's influence on the jazz pianist and composer Dave Brubeck.