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!!!!1929 __ Three Places in New England (Orchestral Set No. 1) * Charles Ives (1874-1954) * ''Comment :'' Each of the three movements is named for a place in New England, USA. Each is carefully composed to make the listener feel as though he or she is at that very place, experiencing its unique atmosphere. Ives’ use of paraphrasing American folk tunes is particularly important in creating such an effect, as it provides the listener with some sort of tangible reference point from which to access the music. ''(Comment under Creative Commons CC-BY-SA license, In Wikipedia: The Free Encyclopedia. Wikimedia Foundation. Retrieved November 4, 2010)'' * ''Comment :'' « II- Putnam's Camp — Near Redding Center, Conn., is a small park preserved as a Revolutionary Memorial; for here General Israel Putnam's soldiers had their winter quarters in 1778-1779. Low rows of stone camp fireplaces still remain to stir a child's imagination. The hardships which the soldiers endured, and the agitation, of a few hot-heads, to break camp and march to the Hartford Assembly for relief, is part of Redding history. Once upon a '4 July,' some time ago, so the story goes, a child went here on a picnic, held under the auspices of the first Church and the Village Cornet Band. Wandering away from the rest of the children past the camp ground into the woods, he hopes to catch a glimpse of some of the old soldiers. As he rests on the hillside of laurels and hickories the tunes of the band and the songs of the children grow fainter and fainter; --when-"mirabile dictu"--over the trees on the crest of the hill he sees a tall woman standing. She reminds him of a picture he has of the Goddess Liberty, --but the face is sorrowful--she is pleading with the soldiers not to forget their "cause" and the great sacrifices they have made for it. But they march out of camp with fife and drum to a popular tune of the day. Suddenly, a new national note is heard. Putnam is coming over the hills from the center,-the soldiers turn back and cheer. --The little boy awakes, he hears the children's songs and runs down past the monument to "listen to the band" and join in the games and dances. — III- The Housatonic at Stockbridge — Housatonic Church across River sound like Dorrnance. River mists, leaves in slight breeze river bed--all notes and phrases in upper accompaniment ... should interweave in uneven way, riverside colors, leaves & sounds--not come down on main beat ... » ''(Charles Ives, “Three Places In New England”, program notes on the score)'' * ''Attached references :'' {small}Ludwig van Beethoven (1770-1827), ''Pastoral Symphony op. 68'' (1805-1808) ; Walter Benjamin (1892-1940), ''Die Wiederkehr des Flaneurs'' (The Return of the Flâneur) (1929) ; Henri Bergson (1859-1941), ''La pensée et le mouvant'' (The Creative Mind) (1934) ; Gaston Bachelard (1884-1962), ''L’intuition de l’Instant'' (1934), ''Droit et Rêverie, Logosphere'' (1951), ''La Poétique de l’Espace'' (The Poetics of Space) (1958), ''La Poétique de la Rêverie'' (1960) ; Heitor Villa-Lobos (1887-1959), ''New York Skyline'' (1939), ''Symphony n°6 : On the Profiles of the Mountains of Brazil'' (1944) ; Pierre Teilhard de Chardin (1881-1955), ''Noosphere'' (1955) ; Guy-Ernest Debord (1931-1994), ''Psychogeography & Theory of the Dérive'' (1956) ; John Cage (1912-1992), ''Atlas Eclipticalis'' (1961-62), ''Etudes Australes'' (1974-75), ''Etudes Boreales'' (1978) ; Charles Dodge (1942-), ''Earth’s Magnetic Field'' (1970) ; Henri Lefevre (1901-1991), ''La Production de l’Espace'' (The Production of Space) (1974) ; Michel de Certeau (1935-1986), ''L’Invention du Quotidien'' (The Practice of Everyday Life) (1980) ; see also : ''program music, descriptive music''.{/small} * ''Sources :'' {small}B.G. Tiranny. (2003). ''Out To The Stars, Into The Heart: Spatial Movement in Recent and Earlier Music - Antiphonal Space''. In ‘NewMusicBox’, the Web magazine from American Music Center, published : January 1, 2003.{/small} {br}{br}
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