Shaped by Politics: Charles Ives’s Music

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Table of Contents

Introduction
Ives’ Music and Republicanism Political Ideology
Republicanism Ideology and War as Reflected in Ives’ Music
The Colonial Revival Myth and Philosophy as Reflected in Ives’ Music
The Political Ideology of Ives and Political Personalities
Ives Music and Idea of Global Politics
Conclusion
Reference List
Bibliography

Introduction

Charles Ives, Born in 20 October 1874, was a music composers whose immense popularity came from exploratory themes that affected society during his time. However, many people never took his music seriously during his life as most of the composed works did not reach the performance stage. But after his death in 19 May 1954, his legacy remained as people still found it absolutely relevant to relate to his music not only within the American borders but also at the international level. It’s no wonder Ives music was later referred to as “the first American composer of international significance” (Perlis & Hitchcock 1977, 45).

Largely regarded as one of the first people to be involved with experimental music, one of Ives musical themes was politics. The political theme endeared him to many as the times of his life and music were filled with political tension across world.

Having been born to a U.S. soldier father, George Ives, who headed American civil war band (Morgan 1990, 3; Hitchcock 1999, 97), Ives must have got inspiration from his father’s involvement in the wars, shaped by the political environment of his time. Ives’s music reflected his idea of political past, connected to his deep sense of responsibility within the societal political arrangements- the kind of responsibility associated with republicanism and colonial revival as the two 19^th century political traditions.

Ives’ Music and Republicanism Political Ideology

The republicanism as a political philosophy of the 18^th century was an upper class’ idea of what the society should look like. Republicanism was basically designed to maintain the political philosophy and social order. Within this social hierarchy was the belief in a society that is homogenous, where every person had a place to preserve within the system (Burkholder 1996, 146). Through his music, Ives advocated the same philosophy.

In fact, Ives believed in people acting as organic entity, with his developed trust in the issue of majority (Burkholder 1996, 147). He expressed his opinion on what entails common and the governors. His version of ‘The Masses’ specifically expressed his belief in Republicanism and subsequent lack of sympathy for people who failed to be part of the system. Burkholder (1996, 147) candidly puts it: “central to Ives’ political thinking is the notion that men are motivated by a willingness to place the interest of society above their own individual desires- that is the heart of republicanism”

In fact, Ives comes closest to the philosophy of republicanism with his view of the “Majority”. His consideration of what a dissenting minority should do is not appealing to his ideologies, just like the 18^th century republicans’ believed. His proposed alternatives to the minority dissents are based on his musical “Majority” ideology, illustrated as:

the minority “can abide by the winner’s terms,
the minority man can go to some other country whose laws are more congenial to him; or
he can begin to shriek, to get nasty, hysterical, and begin to throw things around- and then the Majority will strangle him- and treat him like a farmer treats a skunk who loses his self-respect” (Gilamn, 1994, 13).

This kind of belief reflects Ives’ intolerance to diversity and pluralism, and also reflects the song’s theme of masses and politics.

However, this kind of ideology was never realized, as far as the current Republican Party is concerned. To me, this republicanism ideology Ives believed in never lived to its full potential as it went through circles of transformation later in the years. Boatwright (1974, 42) argues that towards the end of 19^th century, republicanism was nowhere near any conscious debates as it had restructured to cultural artifacts.

Some historians arrange this kind of transformation as “layers of culture in the form of sentiments, symbols, ideas, and finally habits” (Boatwright 1974; Green 1978; Bergman 1993). In fact, according to Green (1978, 20) republicanism was entrenched in an elaborate set of symbols and rituals, holistically practiced in schools, homes, and in very political process within the United States and beyond. Though this kind of practice was not encoded formally, it was deeply retrenched and practiced vaguely within the societal system (Green 1978, 21).

The very nature of music as a vehicle to drive ideas across among the people helped Ives put across what he believed in as far as political ideology is concerned. He used music to perpetuate political ideologies, a phenomenon that has mainly been realized in the 19^th century. The success of his music to foster such philosophies may be linked to the very nature of music’s ability to cut its own niche of linguistic freedom and space.

Its ability to arouse feelings of nostalgia, and the potentiality of music to present multiple ideas through manipulation of symbols with the support of other ways of communication could be the idea behind Ives successful shot at the political ideology. Basically, Ives could capture the simple essence of republicanism ideology through his elaboration of allusions, sentimental culture and symbolism. The kind of music that dealt with the past can be associated with his interest in nationalism and domestic politics- a kind of music that relied on the myth of majority and patriotism, based on the collective responsibility of the nationals in forming a united nation. For sure, Ives’ music reflected his deep feelings of what nationalism means: republicanism.

Republicanism Ideology and War as Reflected in Ives’ Music

Several of Ives compositions exposed his feelings and opinion on civil War. One of his major compositions, Third Symphony has been reproduced several times, with various fashions and themes (Hamm 1995, 1124). But the most characteristic theme that has attracted the attention of many is the politic war theme (Briggs 1955; Bond 1991; Hamm 1995). It is built on the foundation of American heritage, musically and politically.

In this piece of work, Ives saw Civil War as a significant turning point, which had a great effect on the vision of the Republicans. Bond observed that Ives’ views in this type of composition brought about a new idea of nationalism, not only in America but across borders (Bond 1991, 66). During the Civil War, the old guard of New England republicans began to see themselves more as Americans (Bond 1991, 67).

They defined their image as a nation instead of the traditional New England. However, this new national culture was based on the individual’s willingness to associate with the belief of broader view of the societal responsibility rather than individual benefits. The sentiment of nationality perpetuated by Ives was envisioned in the broadest humanitarian terms described as the best way of coming out of selfish notion and building a behavioral habit of shared duties and responsibilities within the broader society. It was the spirit Ives advocated among those who went to war, through his compositions (Bond 1991, 67).

The political vision of Ives was based on republican view but had a much different version of what majority republicans believed in. In fact, it is possible to state that Ives republicanism view was based on a loosely connected amalgamation of ideas but not a unified political philosophy. His belief was directed towards all humanity, village to village, but with global goals. His idealized nation in the music was based on the global sense, hence his little recognition of national government.

Civil War therefore became Ives important part of his ideology. His musical imagination of Civil War was based on the reality that he imagined far much away from the reality of life. It is possible that his musical focus of his father is what provoked this imagination, and that he managed to string together what entailed enough information of the described war, particularly the Civil War.

But the memories of Civil War was not to last as he believed that the war was more of individual initiative, rather than groups efforts. In fact, in his many political-related compositions, Ives views on Civil War are personal and as Cox (1970, 21) critiques, “had little to do with his inspiration.” It is noted that Ives’ view of New England is the most critical factors that shaped his political vision and music. The New England is billed as the principle source of his political philosophy, which was not in isolation but was part of his extensive beliefs of the 19^th century New England, the colonial revival (Cox 1970, 21).

The Colonial Revival Myth and Philosophy as Reflected in Ives’ Music

Considered the second and the most powerful myth and philosophy that shaped Ives’ idea of politics, and subsequently musical compositions, the colonial revival was the response that emerged from the increased American industrialization. Basically, it began immediately after the Civil war. It was characterized by architectural works, with an aim to maintain and restore the original state of New England towns after the War (Lamb 1975, 5).

The preservations of the old buildings went on even as the newly constructed ones were restricted. According to this philosophy, the preservation of the old buildings reflected the belief in their high value- presented as a symbol of national unity, stability, and democracy (Lamb 1975, 6).

This kind of movement had a great influence in Ives and many other artists’ works. He extolled the New England with mythical lyrics, depicting life in village as shaped by politics. The third symphony was one of the compositions that defined the belief as shaped by the village life- a surrounding life of the people’s ordinary demeanors (Cyr 1972, 319; Lamb 1975, 7). The experimental music was designed for his beliefs and to those who dared belief in the radical new idea of political arrangements as reflected in Symphony 1 (Cyr 1972, 319).

One may be tempted to belief that this romanticism of America in the form of New England was extended towards the 20^th century, notably in the two world wars. During and after the two world wars, many artists and composers revived Ives music in the form of art and literature. Basically, it is possible to identify the fact that Ives politics in action emerged way after his death, as his works as well as life in colonial revival were billed in the new wave of creativity. He had the memory with him, an imagination of what had happened in the past, as a way of predicting what was at stake- revival of America from the status of New England.

Ives’ idealized political paradigm was engulfed in the New England town meeting (Bergman 1993). The traditions of the New England reflected his beliefs about man and the society, with his floating ideas of democracy, the principle of ‘Majority’ as a political paradigm. Ives’ political ideas just like his music, were highly original and in many occasions unique. However, the inspiration could be all about him and his society. These musical ideologies are not anachronistic but look back to the 19^th century when his ideas were shaped (Bergman 1993).

Notably, there’s a significant lag between the times Ives’s ideas were formed and when they were fully used in words and music. Much of his political ideologies were formed in the critical years of early 1900s, specifically between 1905 and 1908. However, he never expressed any political interest by the time the ideas were formed, but later revived them during World War I. But the belief in a shared responsibility was evident in his interest in life insurance after 1908 (Lamb 1975, 7; Schoffman 1997). His engagement in politics reflected his desire to see a society with a shared responsibility both economically, politically and socially.

All these were reflected in his musical composition. Motivated by the desire to revive the values of the 19^th century, Ives used music to fuse the ideas of life insurance, his beliefs in the republicanism and concept of shared responsibility, and his vision of the industrialized New England and the republican concept of responsibility (Schoffman 1997). In other words, politics of the society fueled his creativity to a greater heights- creativity that was only realized long after his death.

The Political Ideology of Ives and Political Personalities

However, this belief was shuttered by the election of Harding as the president in 2 November 1920. Harding’s victory was landslide. His subsequent composition, ‘For Male in unison chorus and Orchestra’, had an expression of a disillusioned man, with a lot of hatred to the elected man (Burkholder 1996, 126). Harding was considered corrupt, and to make matters worse, had rejected the League of Nation, to the annoyance of Ives who believed in shared responsibilities among the people.

Ives’s life also developed into problematic journey of political ideology differences with that of Franklin Roosevelt. Even though he admitted his creativity was diminished later in 1926, his health problem is believed to have precipitated when he, as a member of a committee to sell Liberty Bond, met a representative of Franklin Roosevelt. According to sources, Ives wanted a fifty- dollar bond- a small bond that many common people could purchase (Burkholder 1996, 127). Ives’ idea was rejected by Roosevelt and his advisers, a scenario that worsened his health problems. He reportedly suffered a heart attack after Roosevelt’s scorned his idea (Burkholder 1996, 127).

The epitome of Ives’ bitterness of the political personalities and events of his time was reflected in the song, Nov.2, 1920. Burkholder (1996, 127) states that in the Nov.2, 1920, “there is a defiant, optimistic tone in it”, indicating that he refused to give up of his aspirations as far as political matters were concerned. In fact, the song is said to be the most savage and cynical work of Ives, as compared to other songs which are more ironical.

Ives Music and Idea of Global Politics

The diversity of Ives’ music is a clear manifestation of his desire to a bigger world united into one. The types of music he composed allowed him to get variety of audiences attended to, not only within the United States (New England) but all over the world. The “Variations on America” has developed into the school band favorite; the “Third Symphony” is globally interpreted to suit political themes in many parts of the world; “The World’s Highway” had been interpreted to reflect his views of the New England (United States) need to connect to the rest of the world, not only economically but in all aspects of life including politics (Kumlien 1974, 49).

In other words, Ives had shown his desire of a New England village to become global. This globalization would solve the problems humanity faced- what he would refer to as ‘Majority’ suffering. He loathed the idea of national politics, which he saw as selfish desire by the leaders of that time to consolidate their autocratic rule.

To the desire of a better united humanity, Ives could not clearly understand the idea that his political ideology was defeated by the 1920’s election outcome (Kumlien 1974, 49). He also refused to accept the verdict, as far as his late compositions are concerned. And indeed, many scholars believe that elections of 1920 closed the major chapter of a prosperous career of Ives. Ives’s political life as reflected in his music contributed to the disillusioned political ideology, and subsequently ended his creative compositions. But more importantly, his works have remained more vibrant as far as interpretations and revival are concerned. That is, many artists, poets, historians, among many scholars have found it necessary to have a second look at Ives’s diverse pieces of works in a more theme-oriented dimension.

Conclusion

Charles Ives’s compositions and life was shaped by politics of the time, and imagination of what type of politics would help humanity to prosper, not as individuals but as a groups. Despite the lack of attention his music received from many scholars and listeners in his lifetime, his diversity in composition appealed to a global audience, and reflected his desire for a united world, and not selfish national interest. This kind of belief is reflected in his involvement with republicanism ideology of the 18^th century. Designed to create and maintain social order, republicanism as a philosophy was meant to develop a homogenous society.

From this perspective, it is prudent to state that Ives wanted a political arrangement where men and women would be willing to sacrifice personal interest and develop a kind approach to larger global interests.

Nevertheless, this kind of ideology was never realized, as far as the current Republican political party ideology is concerned. Still, his desire to see a New England was still entrenched in the colonial revival themes of music. Again the elections of Harding in 1920 killed his dream of a global world- a world connected more by one goal and destiny. However, his music still remains intact as many scholars and modern artists have found them relevant to the current happenings in the society.

Reference List

Bergman, Timothy. “Symphony No. 2 by Charles Ives: A Basis for Interpretation.” D.M.A. dissertation, University of Miami, 1993.

Bond, Victoria. “Towards Creating a Composer-Friendly Environment.” Journal of the Conductors’ Guild, 12/1-2, (1991): 64-70.

Boatwright, Howard. “The Songs.” Music Educator’s Journal, 61/2 (1974): 42-47.

Briggs, John. “24 Ives Songs.” New York Times, (1955), Section 2, 11.

Burkholder, Peter. Charle Ives and His World. Princeton, NJ: Princeton University Press, 1996.

Cox, Paul. “An Analysis of Sonority Types in Selected Songs of Charles Ives.” Master’s Thesis, Indian University, 1970.

Cyr, Gordon. “Review of Symphony no.1 by Charles Ives.” Notes 29/2 (1972): 319.

Gilamn, Janet. “Charles Ives- Master Songwriter: The Methods Behind His Madness.” PhD Dissertation, University of South California, 1994.

Green, Douglas. “Exempla gratia: A Chord Motive in Ives’s ‘Serenity.’” In Theory Only, 4/5, (1978): 20-21.

Hamm, Charles. “Review of Forty Earlier Songs by Charles Ive.” Notes 51/2, (1995): 1124-25.

Hitchcock, Wiley. “Ives’s 114 [+15] Songs and What He Thought of Them.” Journal of the American Musicological Society, 52/1 (1999): 97-114.

Kumlien, Wendell. “The Music for Chorus.” Music Educator’s Journal, (1974): 61/2: 48-52.

Lamb, Gordon. “Charles Ives: The Man and His Music. Interview with Robert Shaw.” Choral Journal , 15/8 (1975), 5-7.

Morgan, Robert. “The Things Our Fathers Loved”: Charles Ives and the European Tradition.” In Ives Studies, (item 55, (1990), 3-26.

Perlis, Vivian. & Hitchcock, Wiley. An Ives Celebration: Papers and Panel of the Charles Ives Centennial Festival-Conference. Chicago: University of Illinois Press, (1977): 45–63.

Schoffman, Nachum. “The Songs of Charles Ives.” PhD Dissertation, Hebrew University, 1997.

Bibliography

Ridley, Aaron. The Philosophy of Music: Theme and Variations. Edinburgh: Edinburgh University Press, 2004.

Austin, Larry. “The Realization and First Complete Performance of Ives’s Universe Symphony.” In Ives Studies (item 55), 179-231.

Tipton, Julius. “Some Observations on the Choral Style of Charles Ives.” American Choral Review, 12/3 (1970): 99-105.

Hall, David. “Charles Ives: an American Original”. Hi-fi/Stereo Review 13 (3), (1964): 42.

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