Biography[ edit ] Charles Ives, c.
Drifting meadow of the air As he stands on the side of the pleasant hill of pines and hickories in front of his cabin, he is still disturbed by a restlessness and goes down the white-pebbled and sandy eastern shore, but it seems not to lead him where the thought suggests--he climbs the path along the "bolder northern" and "western shore, with deep bays indented," and now along the railroad track, "where the Aeolian harp plays.
He remains in this mood and while outwardly still, he seems to move with the slow, almost monotonous swaying beat of this autumnal day.
He is more contented with a "homely burden" and is more assured of "the broad margin to his life; he sits in his sunny doorway They were not time subtracted from his life but so much over and above the usual allowance.
The fishes in the pond no longer feel its rumbling and he is more alone than ever A vibration of the universal lyre Just as the intervening atmosphere makes a distant ridge of earth interesting to the eyes by the azure tint it imparts.
Part of the echo may be "the voice of the wood; the same trivial words and notes sung by the wood nymph. Is it a transcendental tune of Concord?
Actually accomplishing the latter is a problem, more or less arbitrary to an open mind, more or less impossible to a prejudiced mind.
That which the composer intends to represent as "high vitality" sounds like something quite different to different listeners.
That which I like to think suggests Thoreau's submission to nature may, to another, seem something like Hawthorne's "conception of the relentlessness of an evil conscience"--and to the rest of our friends, but a series of unpleasant sounds.
How far can the composer be held accountable? Beyond a certain point the responsibility is more or less undeterminable. The outside characteristics--that is, the points furthest away from the mergings--are obvious to mostly anyone.
A child knows a "strain of joy," from one of sorrow. Those a little older know the dignified from the frivolous--the Spring Song from the season in which the "melancholy days have come" though is there not a glorious hope in autumn!
But where is the definite expression of late-spring against early-summer, of happiness against optimism? A painter paints a sunset--can he paint the setting sun? In some century to come, when the school children will whistle popular tunes in quarter-tones--when the diatonic scale will be as obsolete as the pentatonic is now--perhaps then these borderland experiences may be both easily expressed and readily recognized.
But maybe music was not intended to satisfy the curious definiteness of man. Maybe it is better to hope that music may always be a transcendental language in the most extravagant sense.
Possibly the power of literally distinguishing these "shades of abstraction"--these attributes paralleled by "artistic intuitions" call them what you will -is ever to be denied man for the same reason that the beginning and end of a circle are to be denied.Technology In Action, Introductory - United States Edition, Alan Evans, Mary Anne Poatsy, Kendall Martin A Survey of Worcestershire by Thomas Habington V2 (), Thomas Habington, John Amphlett Four Freedoms Trimmers, School Specialty Publishing, .
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The "detailed descriptions" of these LPs may be read by visiting the respective file for each classification (see the Internal Links Section below). These "descriptions" also include many essays and anecdotes, plus comparisons of the different recordings and pressings of the famous "blockbuster" orchestral works.
The Project Gutenberg EBook of Essays Before a Sonata, by Charles Ives This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever.