Template:American Five

{{documentation|content=


 * "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}}.

{{collapsible option}}