Ives, extended Pythagorean revisited

Were just sonorities--i.e., peculiar schismatic spellings (after
Johnny Reinhard's extended Pythagorean interpretation for Ives
spelling/tuning template)--edited out of Ives?

Here's a fascinating bit from an exchange I had with David Porter of
the Ives Society:

<<Last year I spent several months going over the "new" (22 years old)
critical editions of Tone Roads Nos. 1 & 3 and Halloween. In TR #1
and Halloween, John Kirkpatrick had respelled many of Ives's notes to
make them more "practical" and more "correct" harmonically. The
reason I spent so much time undoing all that foolishness wa to make
these Old editions in line with our new Ives Society guidelines. (We
now preseve Ives's spelling, rhythms, and have a consistent format for
describing details of the editing.)

Ives himself states his thinking in an Appendix to his "Memos" --
flats represent repose and rest, sharps represent activity. I've seen
several places where a first draft uses flats, but the later and final
drafts use sharps. C# is nearer to D than to C, etc., Db closer to C
than to D. Hence that descending "triad" in "West London" b-ab-e.
The "3rd" ab should be flatter than a "proper" g#.>>

Now I wonder how many of these spellings, ones that could easily be
"fixed" in a harmonic sense, were "corrected" in this way at one point
or another... and just how common were schismatic triads were in Ives
anyway?

Was this late thinking, early thinking, consistent thinking....
isolated instances? Did he go even further along these lines?

--Dan Stearns