Template:American Five
Appearance
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- "The first use of the phrase [an 'American Five'] seems to have been made by the composer John Downey in 1962, the year following Becker's death." Don C. Gillespie (1977). John Becker: Midwestern Musical Crusader, p.iii.
- "During the early 1930s, the five composers most 'conspicuously concerned with innovation' were Ives, Ruggles, Cowell, Becker, and Wallingford Riegger. Gillespie has called them 'the American Five.'" Stuart Feder (1992). Charles Ives, "my Father's Song": A Psychoanalytic Biography, p.346. Yale. ISBN 9780300054811. Also Feder's ISBN 9780521599313.
- "The leading authority on Becker--musicologist and pianist Don Gillepsie--reminds us that 'Becker was the first person to promulgate the theory of the "Ives group," or "The American Five," as it is often called today.' This included Ives, Ruggles, Riegger, and Cowell, along with Becker, as a 'center of the experimental movement of the day." Gilbert Chase (1992). America's Music, from the Pilgrims to the Present, p.462. University of Illinois. ISBN 9780252062759.
- "Becker began insisting that he was one of the 'American Five' great modern composers, placing himself alongside Ives, Ruggles, Cowell, and Riegger." Stephen Budiansky (2014). Mad Music: Charles Ives, the Nostalgic Rebel, p.231. ForeEdge. ISBN 9781611683998.
- "Then, some years later, Dennis Russell Davies had the notion of organizing the 1980 Cabrillo Music Festival around my thesis-idea of 'The American Five' (Ives-Ruggles-Riegger-Cowell-Becker)." Peter Garland, ed. (1987). A Lou Harrison Reader, p.94. Soundings.
- "[Riegger and Becker] were grouped with Ives, Ruggles, and Cowell as the 'American Five,'". Elliott Antokoletz (2014). A History of Twentieth-Century Music in a Theoretic-Analytical Context, p.166. Routledge. ISBN 9781135037307.
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See also
This template treats composition movements as based on common technique and collaboration and composition schools as based on common location, collaboration, and/or education.
- {{Downtown music}}
- {{Totalism}}
- {{Neoclassicism (music)}}
- {{Ars antiqua}}
- {{Notre Dame school}}
- {{Ars nova}}
- {{Ars subtilior}}
- {{Bologna School of music}}
- {{Boston School (music)}}
- {{Burgundian School}}
- {{Canadian League of Composers}}
- {{Darmstadt School}}
- {{Franco-Flemish School}}
- {{Ears Open Society}}
- {{Grupo de los cuatro}}
- {{Grupo de renovación musical}}
- {{Group of Eight (music)}}
- {{Grupo renovación}}
- {{Khrennikov's Seven}}
- {{La jeune France}}
- {{L'École de Paris}}
- {{New Music Manchester}}
- {{Mannheim school}}
- {{The Five (composers)}}
- {{The Five}}
- {{Minimal music}}
- {{Music of the Trecento}}
- {{Neapolitan School}}
- {{New German School}}
- {{New Jewish School}}
- {{New Simplicity}}
- {{Cologne School (music)}}
- {{New York School composers}}
- {{Oeldorf Group}}
- {{Roman School}}
- {{Second New England School}}
- {{Les Six}}
- {{Sonic Arts Union}}
- {{Turkish Five}}
- {{Venetian School (music)}}
- Viennese
- {{West Coast School}}
- {{Young Poland (music)}}