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The Fourth Symphony (1916) is Charles Ives's most extraordinary piece. Like the other Ives's collages, the Symphony is crowded with borrowed tunes, primarily hymns, songs, marches. Some of them were used in an earlier works by Ives: the first movement of the Symphony was based on the Watchman in the finale of the First Violin Sonata; the second on The Celestial Railroad; the third on the first movement of the String Quartet; and the finale on march and on the closing passage of the Second String Quartet. The composer enriched each movement of the Fourth Symphony's texture with new layers, many pre-existing tunes and created characteristic multi-layered collage. The multi-layered texture became an universal principle of organizing the structure of the first, second and the fourth movements. The phenomenon of superimposing many layers that coexist in time broadens boundaries of space and time. In this case musical form of the piece is based not only on a linear time but also on spatial vertical. Unique tempo, dynamics, timbre, rhythm is characteristic to each polyphonic layer. That creates the impression of deliberately unsystematic music which is unite only with coherent program. This paper will attempt to indicate the constructive principles which unite the multi-layered texture to the tight cyclic form. Paying attention to the wide variety of borrowing strategies (e.g. quotation, cantus firmus, self-borrowing etc.) in Ives's Fourth Symphony, the paper will be focused on the sectional structures defined by different parameters and on identification of spatial multi-layered form. These distinct analytical approaches help to outline the ways in which the diverse structural possibilities are interrelated and unified.

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