In his excellent book Charles Ives and His America (Victor Gollancz Ltd., London, 1976) Frank R. Rossiter presents the most thorough psychosociological study yet made of the life and times of this frequently misunderstood composer—dismissed as a hack by many, elevated to cult figure status by others, realistically appraised by comparatively few. Several chapters examine Ives's personal and musical relationships with other advanced composers working in America during his lifetime. Though he had virtually stopped composing by the 1920's and early 30's, Ives helped finance concerts for the Pan American Association of Composers—whose more active membership included Edgar Varèse, Wallingford Riegger, Henry Cowell, and Carl Ruggles—and the publication of much of their music in Cowell's New Music edition. Thus he became acquainted with these composers, in whose work is found ‘the American counterpart to the rich experimentalism of the Viennese school’. His relationship with them ranged from bitter antagonism (of Varèse) to close friendship (with Cowell and Ruggles). Before the recent ‘complete’ recording of his music, Ruggles remained comparatively unknown even in America, except to those fortunate enough to stumble across his name and music via Ives.