Overview

How one extraordinary pianist, scholar, and editor prepared for publication important scores by Ives, Copland, and Ruggles, and reshaped the history of American musical modernism. For over sixty years, the scholar and pianist John Kirkpatrick tirelessly promoted and championed the music of American composers. In this book, Drew Massey explores how Kirkpatrick's career as an editor of music shaped the musicand legacies of some of the great American modernists, including Aaron Copland, Ross Lee Finney, Roy Harris, Hunter Johnson, Charles Ives, Robert Palmer, and Carl Ruggles. Drawing on oral histories, interviews, and Kirkpatrick's own extensive archives, Massey carefully reconstructs Kirkpatrick's collaborations with such luminaries, displaying his editorial practice and inviting reconsideration of many of the most important debates in American modernism --for example, the self-fashioning of young composers during the 1940s, the cherished myth of Ruggles as a composer in communion with the ""timeless,"" and Ives's status as a pioneer of modernist techniques. First winner (November 2014) of ASCAP's Virgil Thomson Award for Outstanding Music Criticism. Drew Massey is an Assistant Professor of Music at Binghamton University.

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9781580464048

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A substantial and provocative contribution to our understanding of Kirkpatrick as a man, performer, editor, and scholar. This book's implications reach beyond the particular composers and works involved and will interest readers concerned with American music generally, as well as those interested in the history and practice of editing in the 20th century. --Tom C. Owens, editor of Selected Correspondence of Charles Ives

A substantial and provocative contribution to our understanding of Kirkpatrick as a man, performer, editor, and scholar. This book's implications reach beyond the particular composers and works involved and will interest readers concerned with American music generally, as well as those interested in the history and practice of editing in the twentieth century. --Tom C. Owens, editor of Selected Correspondence of Charles Ives

A substantial and provocative contribution to our understanding of Kirkpatrick as a man, performer, editor, and scholar. This book's implications reach beyond the particular composers and works involved and will interest readers concerned with American music generally, as well as those interested in the history and practice of editing in the 20th century. --Tom C. Owens, editor of Selected Correspondence of Charles Ives

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