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The Voice of the City: New York in der Musik von Charles Ives

Marianne Betz
Archiv für Musikwissenschaft
61. Jahrg., H. 3. (2004), pp. 207-225
Published by: Franz Steiner Verlag
Stable URL: http://www.jstor.org/stable/4145446
Page Count: 19
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The Voice of the City: New York in der Musik von Charles Ives
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Abstract

At the turn of the last century, New York began to emerge as the paradigm of the modern twentieth-century city. Not only did it mushroom in size, but its continually transforming appearance, precipitated by its skyscrapers and upward-striving architectur, seemed to illustrate the sum of human ambition. While contemporary painters and writers documented the impressions of its evolving, pulsating sceneries, whose multiculturalism became one of the city's hallmarks, curiosity with regard to its developing urban soundscapes was much less forthcoming. As a businessman Charles Ives commuted daily to the city, as did scores of others who contributed to its heterogeneous population. The city's changing "voice," viewed as the urban symbol of the modern age, is a theme in several of his compositions: man, nature, and urban life coalesce in a musical night scene in Central Park in the Dark (1906); and in the second Orchestral Set, the heterogeneity of the melting-pot is movingly portrayed in From Hanover Square North (1915).

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