Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer.
 He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years.
 Over time, he came to be regarded as an "American original".
 He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century.
Daniel Evan Freeman (born 27 April 1959) is an American musicologist who specializes in European art music of the eighteenth century, in particular the musical culture of eighteenth-century Prague and the Bohemian lands.
 He is also active as a pianist and music editor.
Art music (also known as Western classical music, cultivated music, serious music, canonic music, and more flippantly, real music or normal music) is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition.
 "Serious" or "cultivated" music are terms frequently used as a contrast for ordinary, everyday music (popular and folk music, also called "vernacular music").
 After the 20th century, art music was divided into two extensions: "serious music" and "light music".
In the history of European art music, the term "common practice period" refers to the era between the formation and the dissolution of the tonal system.
 Though there are no exact dates for this phenomenon, most features of the common-practice period persisted from the mid to late baroque period, through the Classical and Romantic periods, or roughly from around 1650 to 1900.
 While certain prevailing patterns and conventions characterize the music of this period, the time period also saw considerable stylistic evolution.
 Some conventions evolved during this period that were rarely employed at other times during what may still be labeled "common practice" (for example, Sonata Form).
 Thus, the dates 1650–1900 are necessarily nebulous and arbitrary borders that depend on context.
 The most important unifying feature through this time period concerns a harmonic language to which modern music theorists can apply Roman numeral analysis.
The Festival Oude Muziek Utrecht ("Utrecht Early Music Festival") is an annual music festival that showcases and celebrates early European art music.
 The ten-day festival takes place in the Dutch city of Utrecht, and begins in August.
 The programme comprises concerts, activities, lectures, exhibitions, and a symposium.
Assaf Shelleg (Hebrew: אסף שלג‎ ‎ ), is a musicologist and pianist, a senior lecturer of musicology at The Hebrew University of Jerusalem.
 He was previously the Schusterman Visiting Assistant Professor of Musicology and Jewish Studies in the Department of Religious Studies at the University of Virginia (2011–14), and had taught prior to that as the visiting Efroymson Scholar in the Jewish, Islamic & Near Eastern Languages and Cultures Department at Washington University in St. Louis (2009–11).
 Shelleg specializes in twentieth-century Jewish and Israeli art music and has published in some of the leading journals in both musicology and Israel Studies on topics ranging from the historiography of modern Jewish art music to the theological networks of Israeli art music.
 Shelleg's book, "Jewish Contiguities and the Soundtrack of Israeli History", appeared in November 2014 with Oxford University Press.
 The book studies the emergence of modern Jewish art music in central and Western Europe (1910s-1930s) and its translocation to Palestine/Israel (1930s-1970s), exposing the legacies of European antisemitism and religious Judaism in the making of Israeli art music.
 Moving to consider the dislocation of modern Jewish art music the book examines the paradoxes embedded in a Zionist national culture whose rhetoric negated its pasts, only to mask process of hybridizations enchained by older legacies.
 "Jewish Contiguities" has won the 2015 Engle Prize for the study of Hebrew Music, and the 2016 Jordan Schnitzer Book Award.
Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture.
 Vocal harmonies are used in many subgenres of European art music, including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and musical theater pieces to rock ballads.
 In the simplest style of vocal harmony, the main vocal melody is supported by a single backup vocal line, either at a pitch which is above or below the main vocal line, often in thirds or sixths which fit in with the chord progression used in the song.
 In more complex vocal harmony arrangements, different backup singers may sing two or even three other notes at the same time as each of the main melody notes, mostly with consonant, pleasing-sounding thirds, sixths, and fifths (although dissonant notes may be used as short passing notes).
David Wallis Reeves (February 14, 1838 – March 8, 1900), also known as D. W. Reeves or Wally Reeves, was an American composer, cornetist, and bandleader.
 He developed the American march style, later made famous by the likes of John Philip Sousa, and his innovations include adding a countermelody to the American march form in 1876.
 Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March".
 Charles Ives also borrowed from the "Second Connecticut" on four occasions.
"Indian classical music is one of many forms of art music that have their roots in particular regional cultures.
 For other "classical" and art music traditions, see List of classical and art music traditions."
Progressive music is music that subverts genre and expands stylistic boundaries outwards.
 Rooted in the idea of a cultural alternative, musical progressiveness embodies a continuous move between explicit and implicit references to genres and strategies derived from various cultural domains, such as European art music, Celtic folk, West Indian, or African.
 The word "progressive" comes from the basic concept of "progress", which refers to development and growth by accumulation, and is often deployed in numerous music genres such as progressive country, progressive folk, progressive jazz, and (most significantly) progressive rock.

Question: What is the birthyear of the American composer that borrowed from "Second Connecticut" on four occasions and combined American popular and church-music traditions with European art music?
Answer: 1874May