Dating Charles Ives's Music: Facts and Fictions

Abstract

i ECENT SCHOLARSHIP HAS aggressively questioned the image of Charles I ves as a remarkably original musical thinker and one of the great innovators of the early twentieth century. Under attack is the credibility of the dates Ives provided for his music, indications of when he developed his unique musical conceptions and innovative techniques. H. Wiley Hitchcock and Noel Zahler, quoting from an interview of Elliott Carter in 1969, argue that as Ives's musical taste changed, he revised his music: he had a tendency in the late 1920s and thereafter to go back to earlier scores and

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