Our vision of Charles Ives's music and his career has been changed by the redating of his manuscripts and many other researches in recent years. With reference to these researches, in this paper, I reconsidered about the chronological date, compositional procedures, techniques, and backgrounds of Ives's Fourth Symphony which had been regarded as a synthesis of his music. Based on the recent chronology, this symphony was started to write in an unusual year: the next year of his serious heart attack. This redating has made it possible to think about the reason of the religious program and massive use of self-borrowing in this symphony. Based on the recent analysis of his composition itself, this symphony is an unusual piece, even for Ives himself. But, from a viewpoint of the compositional procedures, this symphony is the piece that shows most purely one of Ives's own compositional manners, that is, to write some musical backgrounds or contexts that transfigure sounds of the borrowed materials.

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