Eckelmeyer, Judith Alice. "Two Complexes of Recurrent Melodies related to Die Zauberflöte." The Music Review 41 (1980): 11-25.
Mozart did not create music wholly anew for every work, but in some cases reused material in various genres. Die Zauberflöte is especially marked by affinities with the works of Mozart's own past. Pamina's aria, "Ach, ich fühl's," is related to the Trennungslied, K. 519, the String Quintet in G Minor K. 516, and the Piano Concerto K. 466. The melody in the Adagio introduction to Act II Scene 28 and its variant in the final chorus (Act II Scene 30) are related to some seventeen other works by Mozart. The two complexes of related melodies are most likely the result of Mozart's conscious practice of "the technique of composing and arranging melodic units with formular intent." (DCB)
Index classifications: 1700s
Edahl, Ann Signe. "The Use of Pre-Existing Material in the Early Tudor Mass Cycle." Ph.D. diss., University of Wisconsin, 1993.
Index classifications: 1500s
Eggebrecht, Hans Heinrich, and F. Zaminer. Ad organum faciendum: Lehrschriften der Mehrstimmigkeit in nachguidonischer Zeit. Mainz, 1970.
Index classifications: Polyphony to 1300
Eggebrecht, Hans Heinrich. Die Musik Gustav Mahlers. Munich: Piper, 1982.
Many of Mahler's motives and themes remind us of preexisting musical phrases. They sound familiar already at their first appearance. The musicologist makes it his task to locate these allusions. It is, however, impossible or at least misleading to attempt this. These seemingly borrowed excerpts are rather Mahler's attempt to evoke a "colloquial" sound (umgangssprachlicher Ton) or the impression of déjà vu. The use of military fanfares and posthorns should not be interpreted as quotation, even if Mahler consciously quoted one. What is important is the meaning of the fanfare or the posthorn according to the context in which it is found, not as a quotation but as an event. Eggebrecht, however, also discusses the obvious reuses of material such as "Des Antonius von Padua Fischpredigt" (from the Wunderhorn-Lieder) in the Second Symphony and "Oft denk' ich, sie sind nur ausgegangen" (from the Kindertotenlieder) in the Ninth. All three aspects are of importance for the interpretation and understanding of Mahler's works and enable the author to explain their meaning. (AG)
Index classifications: 1800s, 1900s
Einstein, Alfred. Mozart: His Character, His Work. New York, 1945.
[Notes thematic resemblances between works. Challenged by Jan LaRue, "Significant and Coincidental Resemblance Between Classical Themes," Journal of the American Musicological Society 14 (Summer 1961): 224-34.]
Index classifications: 1700s
Einstein, Alfred. "Die Parodie in der Villanella." Zeitschrift für Musikwissenschaft 2 (1919-20): 212-24.
Index classifications: 1500s
Einstein, Alfred. Schubert--A Musical Portrait. New York: Oxford University Press, 1951.
In a full-length discussion of Schubert's life and music, the author mentions numerous examples of the composer's borrowing, both from works of other composers and from his own previous works. As might be expected, Schubert's early years of compositional development contain the most instances of formal and thematic modeling of the music of others; perhaps surprisingly, Mozart seems to have been a more pervasive source than Schubert's immediate predecessor Beethoven. In his mature works, Schubert borrows less from others, while placing greater emphasis on the reuse of his own material, particularly the songs. Yet borrowing formal procedures from other composers (particularly Beethoven) continues to be an important practice of Schubert until the end of his life and can be seen even in such late works as the last three piano sonatas.
Works: Schubert: Fantasia for Four Hands, 1811 (29), Symphony No. 1 in D Major (36), Der Teufels Lustchloss (50), Mass in F Major (56, Rondo in D Major for Violin and Piano, Op. 70 (76, 275), Symphony No. 2 in B-flat Major (86), Symphony No. 4 in C Minor ("Tragic") (108), Fantasia in C Major ("Wanderer") (143), Fugue for Four Hands, 1828 (152), Rondo in D Major for Four Hands, 1818 (153), String Quartet in A Minor, Op. 29 (167, 214), Impromptu, Op.90 (173), Impromptu, Op.142 (214), Suleika I D. 720 (193), Divertissement à la Hongroise, D 818 (242), Piano Sonata in A Minor, D. 845 (247), Piano Sonata in D Major, D. 850 (250), String Quartet in D Minor, D. 810 (254), Octet in F Major, D. 803 (256), Piano Sonata in A Major, D. 959 (286), Piano Sonata in B-flat Major, D. 960 (287), Mass in E-flat Major (298). (JSL)
Index classifications: 1800s
Eiseman, David. "Charles Ives and the European Symphonic Tradition: A Historical Reappraisal." Ph.D. dissertation, University of Illinois, 1972.
Index classifications: 1800s, 1900s
Elders, Willem. "Enkele aspecten van de parodie-techniek in de madrigaal-missen van Philippus de Monte." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 19 (1962-63): 131-42.
Index classifications: 1500s
Elders, Willem. "Parodie en declamatie-techniek in de 16e eeuw." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 20 (1966): 140-53.
Index classifications: 1500s
Elders, Willem. "Plainchant in the Motets, Hymns, and Magnificat of Josquin des Prez." In Josquin des Prez: Proceedings of the International Josquin Festival-Conference held at the Juilliard School at Lincoln Center in New York City, 21-25 June 1971, ed. Edward E. Lowinsky in collaboration with Bonnie J. Blackburn, 522-42. London: Oxford University Press, 1976.
Gregorian chant was a rich source of inspiration for Josquin. About half of his motets (ca. 50 pieces) incorporate traditional Gregorian melodies. The chants used most often are antiphons and sequences. Eighteen different antiphons can be found in Josquin's antiphon motets, including the four great Marian antiphons, of which he uses Ave Maria three times and the others each twice. He incorporates nine sequences wholly or in part, using two of them twice, Inviolata and Victimae paschali laudes. The motets may be classed in six groups: groups I and II comprise motets in which the chant is clearly recognizable because its text differs from that of the motet and because it is treated as a cantus firmus in long note values (sometimes treated canonically as well); groups III through V comprise motets in which the text in all voices is that of the chant, whether it is treated canonically, as a migrant cantus firmus, or as a paraphrase; and group VI consists of fifteen motets which do not fit into any of the preceding groups. (MP)
Index classifications: 1400s, 1500s
Elders, Willem. "Struktur, Zeichen und Symbol in der altniederlandischen Totenklage." In Zeichen und Struktur in der Musik der Renaissance: Ein Symposium aus Anlass der Jahrestagung der Gesellschaft für Musikforschung, Münster (Westfalen) 1987: Bericht, ed. Klaus Hortschansky, 27-46. Musikwissenschaftliche Arbeiten, 28. Kassel: Bärenreiter, 1989.
Index classifications: 1400s, 1500s
Elias, Cathy Ann. "Imitation, Fragmentation, and Assimilation of Chansons in the Masses of Gombert, Clemens, and Crecquillon: A Kaleidoscopic Process." Ph.D. dissertation, University of Chicago, 1994.
Index classifications: 1500s
Ellinger, Georg. "Händels Admet und seine Quelle." Vierteljahresschrift für Musikwissenschaft 1 (1885): 201-24.
Index classifications: 1700s
Ellison, Mary. "Ives' Use of American 'Popular' Tunes as Thematic Material." In South Florida's Historic Ives Festival 1974-1976, ed. F. Warren O'Reilly, 30-34. Coral Gables, Fla.: University of Miami at Coral Gables, 1976.
Index classifications: 1800s, 1900s
Elzinga, Harry. "Josquin's Missa Quem dicunt homines: A Reexamination." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 43 (1993): 87-104.
The Josquin attribution and the proposed Richafort authorship of the Missa Quem dicunt homines are reexamined by means of a comparison of the formal features and imitative techniques of the imitation Masses of Josquin and Richafort with those of the Missa Quem dicunt homines. Aspects of the Elevation motet inserted within the Mass suggest Févin as yet another possibility. The examination reveals, however, that Josquin, Richafort, and Févin are not viable candidates for authorship. The Mass was probably composed before 1518 and was perhaps written by a member of the French court chapel of Louis XII, Anne de Bretagne, or Francis I.
Works: Attributed to Josquin: Missa Quem dicunt homines; Josquin: Missa D'ung aultre amer (90-91), Missa Malheur me bat (88, 90-91), Missa Fortuna desperate (90-91), Missa Mater Patris (90-91); Richafort: Missa O Genitrix (93-95), Missa Veni Sponsa Christi (93-95); Févin: Missa Parva (97-99), Missa Dictes moy toutes voz pensées (102), Missa Ave Maria (102), Missa Mente tota (102), Missa Sancta Trinitas (102). (WJM)
Index classifications: 1500s
Emerson, Isabelle Putnam. "The Role of Counterpoint in the Formation of Mozart's Late Style." Master's thesis, Columbia University, 1977.
Index classifications: 1700s
Engelhardt, Jürgen, and Dietrich Stern. "Verfremdung und Parodie bei Strawinsky." Melos/Neue Zeitschrift für Musik 3 (1977): 104-8.
In Petrushka (1911), Renard (1915-16), and The Soldier's Tale (1917-18), Stravinsky uses abstraction and parody to create new dramaturgical forms and musical meanings. The use of abstraction and the view of musical forms (such as ragtime) as archetypes not only affected Stravinsky's style in the 1914-17 period but also paved the way toward his neoclassical style, where it was transformed from mere irony to stylization of the musical material.
Works: Stravinsky: Petrushka, Renard, The Soldier's Tale. (FC)
Index classifications: 1900s
Engländer, Richard. "Das musikalische Plagiat als ästhetisches Problem." Sonderdruck aus Archiv für Urheber- Film- und Theaterrecht 3 (1930): 33-44
Index classifications: General, 1700s, 1800s, 1900s
Epstein, Dena J. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Urbana: University of Illinois Press, 1977.
Index classifications: 1800s
Escal, Françoise. Le compositeur et ses modèles. Paris: Presse Universitaires de France, 1984.
Index classifications: General, 1700s, 1800s, 1900s
Escal, Françoise. "Les concertos-pastiches de Mozart, ou la citation comme procès d'appropriation du discours." International Review of the Aesthetics and Sociology of Music 12 (December 1981): 117-39.
Mozart's concertos-pastiches K. 37, K. 39, K. 40, and K. 41 were viewed as original compositions until 1908 when Wyzewa and Saint-Foix discovered that they borrowed from sonatas by "Parisian" clavichordists such as Raupach, Schobert, Hannauer, Eckard, and C. P. E. Bach. Since then they have been excluded from the canon of Mozart's original works. The notion of plagiarism in the eighteenth century was not clearly based on the ownership of a text, and composers shared the same musical language and style. Mozart's imitations are a natural procedure during his apprenticeship years, and a gradual development from straight arrangement, through more elaborate reworking, and finally to relative autonomy is exemplified in the three sets of piano concertos examined.
Works: Mozart: 3 Piano Concertos K. 107 (118-121), Piano Concertos K. 37, K. 39, K. 40, K. 41 (121-32), Piano Concerto K. 175 (132-38). (LFL)
Index classifications: 1700s
Ethington, Bradley Paul. "Wolfgang Amadeus Mozart's Serenade in B flat, K. 361 (370a), for Twelve Wind Instruments and Contrabass, Gran Partita: Musical Influences and Performance Considerations." DMA document, University of Texas at Austin, 1995.
Index classifications: 1700s
Evans, Beverly J. "The Textual Function of the Refrain Cento in a Thirteenth-Century French Motet." Music and Letters 71 (May 1990): 187-97.
Understanding the logic behind the refrain cento, which is the combination of frequently unrelated texts in succession in all the voices of a motet, has long evaded scholars. Finding a relationship between texts or a reason for their use has been difficult. Often, texts are combined that have no narrative relation to each other. Examining the motet Qui amours veut maintenir/ Li dous pensers/ Cis, a cui provides evidence that the refrain cento in fact acted as a structural and unifying device through lexical repetitions and phonetic patterns, even when no apparent narrative logic exists. The tenor is created through these techniques. Then, the upper voices are generated based on the linguistic sounds produced in this lowest voice. Since this piece behaves in a manner common to the majority of French motets utilizing the refrain cento, it can be said that this technique is used to create the structure of the piece and unify all aspects of it.
Works: Motet: Qui amours veut maintenir/Li dous pensers/Cis, a cui (187-97).
Sources: Chansons: Salut d'Amours, Renart le Nouvel, Suite Anonyme de la 'Court d'Amours' (189). (RCD)
Index classifications: Polyphony to 1300
Evans, Edwin. "The Ballets." In The Music of Tchaikovsky, ed. Gerald Abraham, 184-96. 2d ed. New York: W. W. Norton, 1974.
After Tchaikovsky's death the famous choreographer Marius Petipa rearranged the numbers of the composer's ballet Swan Lake for a revival performance. He felt that some additional numbers were necessary and borrowed them from Tchaikovsky's Piano Pieces, Op. 72, namely "L'Espiègle" (no. 12), "Valse Bluette" (no. 11), and "Un poco di Chopin" (no. 15). These pieces were probably orchestrated by Riccardo Drigo, the conductor of the performances at the Marynsky Theater in 1894 (Act II only) and 1895.
Works: Tchaikovsky: Swan Lake (192f.). (AG)
Index classifications: 1800s
Evans, Paul. "Some Reflections on the Origin of the Trope." Journal of the American Musicological Society 14 (Summer 1961): 119-30.
Evidence suggests that the trope evolved independently of the prosa and other additions to the liturgy. For example, the existence of poetic trope texts suggests that they were new compositions, both in text and music, while the prosa is created by adding words to an existing melody, and is inevitably in prose. This challenges the "St. Gall theory" of the origin of troping, which argues that the trope, like the prosa, arose through the process of supplying texts to melismatic additions that had previously been made to the official chant. This theory fails on three counts: (1) it is based only on three St. Gall tropers, and does not consider all of the earliest tropers; (2) it suggests four stages of development, but traces of the "intermediate steps" are lacking in all but the St. Gall tropers; and (3) it assumes that trope lines must be extensions of lines of chant, whereas the evidence, such as the use of connective expressions or striking melodic figures, suggests that they developed as introductions. The precise date and place of the origin of troping are uncertain, but since the earliest tropers give evidence of a primitive trope repertory, it must have received considerable development in the ninth century. (BP)
Index classifications: Monophony to 1300
Everist, Mark. "Reception and Recomposition in the Polyphonic Conductus cum caudis: The Metz Fragment." Journal of the Royal Musical Association 125 (2000): 135-63.
Defining the term "conductus" in a manner that works for the entire genre has been elusive. However, this task becomes more manageable by breaking down the conducti into smaller sections and carefully examining the application of their borrowed sections. Two major types of text setting appearing in conducti are musica cum littera and musica sine littera. In the former, most of the text is declaimed, and the music is explainable in terms of the rhythmic modes. Construction of parts in the latter is determined by strictly musical concerns, and only sometimes is the music modal rhythmically. Conducti draw their sources primarily from organum and motets. Notation of musica sine littera sections, as exhibited by Ego reus confiteor, is measured and presented modally and includes a large number of ligatures. This particular conductus consists of three parts, and draws its lowest two parts from three sources from earlier in the thirteenth century. Polyphony flows seamlessly until the musica cum littera section. At this point, notation becomes fully rhythmic and utilizes the first rhythmic mode. This rhythmic change is the main difference between the new work and its borrowed source. Other differences include a high number of elisions and extensions into longa perfectas.
Works: Conductus: Sursum corda (141), Premii dilatio (141), Ego reus confiteor (141, 144, 147-54). (RCD)
Index classifications: Polyphony to 1300
Everist, Mark. French Motets in the Thirteenth Century. Cambridge: Cambridge University Press, 1994.
The history of the motet is in itself a history of musical borrowing. Many more implications surround this borrowing that go beyond simply comparing the motet with its source. Two of these are historical and musical considerations. In the early twelfth century, clausulae developed into motets in varied manners. With the addition of words, the rhythm, and sometimes the melody, underwent transformations. As poems were inserted into these melodies, words and even entire phrases were altered, as in the motet Doceas hac die/Docebit. Poetic and musical forms did not always share the same form. One form of the motet that utilized a very specific kind of borrowing is the refrain cento. Since the end of the nineteenth century, musicologists studying the thirteenth-century French motet have arrived at widely disparate definitions of the term refrain cento. Some view this procedure as an entire genre while others see it only as a technique within the broader genre of the motet. Examining motets that have been studied by musicologists since the late 1800s reveals the way in which the definition of this term has changed. Upon reevaluation, some pieces recently have been deemed not to embody the characteristics of a refrain cento, while others have been determined to indeed exhibit these traits. The term refrain cento has gone from denoting a genre in which pieces use at least one refrain from an outside source in conjunction with other text and music, to a technique within the genre of the motet which utilizes various refrains from many different sources. In the latter definition, the musical and poetic characteristics contained within the refrain cento are so disparate that they can only constitute a technique, and not a genre.
Works: Motets: Doceas hac die/Docebit (20-24), Nostrum est impletum/Nostrum (28), Salve salus hominum (35-38), Ypocrite pseudopontifices/Velut stella/Et gaudebit (39-40), Veni doctor previe/Veni sancta spiritus (41), Quant revient et fuelle/L'autrier joer/Flos filius eius (43-47), Navrés sui au cuer/Navrés sui pres du cuer/Veritatem (79-81), Méliacin or Le Conte du Cheval de Fust (82), J'ai les biens d'amours/Que ferni, biau sire Dieus?/In speculum (105), Li jalous par tout sunt fustat/Tuit cil qui sunt enamourat/Veritatem (106), Ci mi tient li maus d'amer/Haro! Je n'í puis durer/Omnes (106-7), Mout me fu grief/Robin m'aime/Portare (107), Ne m'oubliez mie/Domino (108), Ne puet faillir (111-12), Brunete, a cui j'ai mon cuer done (111-12), Hé! monnier (114), Je l'avrai ou j'i morrai (114), Endurez, endurez (114), Renvoisiement i vois a mon ami (114), Tout leis enmi (115-16), La bele mócit, Dieus! (120-22), Cele m'a s'amour donée (120-22), Cis a cui je (120-22), Nus ne sait mes maus (124).
Sources: Clausula: Nostrum (28); Tenor: Flos filius eius (43-47); Refrain: C'est la fin, la fin, que que nus die, j'amerai (66-68), Se j'ai servi longuement/Trop longuement/Pro patribus (68); Motet: En mai, que neist/Domine (68), Ne m'oubliez mie/Domino (69), C'est la jus en la roi/Pro patribus (101), Cele m'a s'amour donée/Qui mon cue, et mon cors a (101-104). (RCD)
Index classifications: Polyphony to 1300
Everist, Mark. "The Refrain Cento: Myth or Motet?" Journal of the Royal Musical Association 114 (1989): 164-88.
Of all the refrains Friedrich Gennrich and Nico van den Boogaard label as centos only three "can reasonably be considered" as such: La bele m'ocit, Dieus!, Cele m'a s'amour donée, and Cis a cui je sui amie. These centos, however, fulfill completely different functions in the motets connected with them: La bele m'ocit appears as a motetus over the tenor fragment In seculum; Cele m'a s'amour donée appears as a motetus over an almost complete Alleluia and verse Alleluia: Hodie Maria virgo celos ascendit; and Cis a cui je sui amie functions itself as a tenor. For this reason the refrain cento is not to be considered a separate genre--comparable, for example, to the motet enté--but a technique, which can appear in various genres. Some examples of unequivocal intertextuality exist between La bele m'ocit, Dieus and a group of motets from the Montpellier manuscript, and between Cele m'a s'amour donée and the motet Nus ne sait mes maus/Regnat from F-Pn fr. 12615. From these unique examples of intertextuality may be deduced a "self-referential mode of composition."
Works: Works: Centos: Amoureusement mi tient li maus que j'ai, Tout leis enmi les prés, Ja pour longue demourée, La bele m'ocit, Dieus!, Brunete, a cui j'ai mon cuer doné, J'ai les biens d'Amours, Hé! cuer joli, Endurés, endurés les maus d'amer, Amors vaint tout fors, Ja ne mi marierai, Cele m'a s'amour doné, Renvoisiement i vois a mon ami, J'ai fait ami a mon chois, Nus ne sait mes maus s'il n'aime, A vous pens, bele, douce amie, Ne puet faillir a honour, Hé monnier, pourrai ja moudre?, Cis a cui je sui amie, Je l'avrai ou j'i morrai.
Sources: Motets: Hé, Amours, morrai je por celi/Omnes (179-80); En son service amourous/Tant est plaisant/In seculum (184); Nus ne sait mes maus/Regnat (185-86). (AG)
Index classifications: Polyphony to 1300
Fabian, Imre. "Ein unendliches Erbarmen mit der Kreatur: Zu György Ligetis Le grand macabre." Österreichische Musikzeitschrift 36 (October/November 1981): 570-72.
György Ligeti includes in his opera Le Grand Macabre all the stylistic achievements of his earlier orchestral and chamber music works. Some passages that Ligeti himself calls reflections, not quotations allude to Monteverdi, Mozart, Stravinsky, Rossini, Verdi, or Beethoven. They are not inserted as collage-like citations, but represent a reflective retrospection on the operatic genre. (AG)
Index classifications: 1900s
Fabris, Dinko. "The Tradition of the La sol fa re mi Theme from Josquin to the Neapolitans through an Anonymous 4-part Ricercare (ca. 1567)." Journal of the Lute Society of America 23 (1990): 37-47.
The five-note theme from Josquin's 1502 Missa La sol fa re mi was borrowed by subsequent composers and used in vocal and instrumental compositions at least until 1626. Examples include vihuelist Diego Pisador's 1552 Fantasia del quarto tono sobre la sol fa re mi, lutenist Albert de Rippe's 1555 Fantasie XVII, Neapolitan composer Rocco Rodio's 1579 Quinta Ricercata, and Girolamo Frescobaldi's 1624 Capriccio sopra la, sol, fa, re, mi. The Bordeney Codex (ca. 1581), an anthology containing instrumental music from the middle of the sixteenth century, contains several anonymous ricercares, one of which uses the Josquin theme. Although the 1581 copy of the Codex does not name the composer of these ricercares, a previously unstudied nineteenth-century copy (Uppsala) attributes them to Neapolitan composer and lutenist Fabrizio Dentice. The case for attributing this ricercare to Dentice is strengthened by the fact that, although the piece is copied in score form (instead of lute tablature), it can be transcribed for lute without adjustment.
Works: Rippe: Fantasie XVII (42-43); Rodio: Quinta Ricercata (42-43); Dentice: Ricercare (37-40, 44-47).
Sources: Josquin: Missa La sol fa re mi (37, 40, 45). (STG)
Index classifications: 1500s
Fajzuleva, Margarita. "Narodno-pesennaja osnova tatarskoj opery [Folksong origins of Tatar opera]." M.A. thesis, Leningradskaja Konservatorija, 1980.
Index classifications: 1900s
Falck, Robert. "New Light on the Polyphonic Conductus Repertory in the St. Victor Manuscript." Journal of the American Musicological Society 23 (Summer 1970): 315-26.
The St. Victor repertory of polyphonic conductus, while peripheral to the Notre Dame manuscripts, may in fact predate them. Instances of alternate texts to the same music, voice exchange in the three-part pieces, and treatment of melismas point to interrelationships between the two schools. Clausulae are borrowed from liturgical texts for use in para-liturgical compositions based on assonance. Using this evidence, the St. Victor manuscript can be assumed to have been compiled from sometime before 1209 to around 1244.
Works: Stella serena (313-17); Veri solis presentia (316); Deduc syon (317, 321); O felix bituria (321, 324-25); Naturas deus regulis (323).
Sources: Ave Maria (313-17); Mater patris (316); Benedicamus domino (317-26). (FC)
Index classifications: Polyphony to 1300
Falck, Robert. "Parody and Contrafactum: A Terminological Clarification." The Musical Quarterly 65 (1979): 1-21.
The term "parody" has a venerable history, going back to Quintilian's Institutio oratoria where it is defined, in Book VI, as an alteration of the text with the intent to alter its meaning. Beginning in Germany in the late seventeenth century, "parody" was generally applied to the alteration or substitution of a song text, usually from a secular to a sacred sense. French usage of the term, beginning with Henri Estienne (1531-1588), began to carry with it musical implications. This broader French definition was also used to draw attention to the original musical models. Generally speaking, the prepositions "post" and "super" were more commonly applied to the use of a musical, as opposed to a textual, model.
The term "contrafactum" originates in post-Classical Latin and has as its nearest English cognate the word "counterfeit." The word is found as a rubric in the Reformation-era Pfullinger Liederhandschrift. Kurt Hennig, in his 1909 book on these songs, uses the term "contrafactum" to describe the recasting of a secular poem as a sacred one. Friedrich Gennrich, writing a decade later, expanded the word to mean "conscious use of any model," and from this point the meaning has broadened to a general category, of which parody, travesty, and the like are sub-categories. (FC)Index classifications: General
Falck, Robert. "Zwei Lieder Philipps des Kanzlers und ihre Vorbilder." Archiv für Musikwissenschaft 24 (May 1967): 81-98.
Index classifications: Monophony to 1300
Fallows, David. "Communications." Journal of the American Musicological Society 40 (Spring 1987): 146-48.
Dufay's L'Homme armé Mass more than likely predates Busnoys's setting, contrary to Richard Taruskin's conclusion (1984). The view of Busnoys as emulator is supported by the fact that his Mass is the more complex of the two, a trait common in emulations. Busnoys's inversion canon runs through the whole of Agnus I and III. In addition, he puts his inversion in the bass, adding another degree of complexity which points to emulation. (EDL)
Index classifications: 1400s
Fanning, David. The Breath of the Symphonist: Shostakovich's Tenth. Royal Musical Association Monographs, 4. London: Royal Musical Association, 1988.
[Includes lists of quotations and allusions.]
Index classifications: 1900s
Fanselau, Rainer. "Michael Tippets 3. Symphonie (1970-72): Botschaft der Humanität." In Zwischen Wissenschaft und Kunst: Festgabe zur Richard Jacoby, ed. Peter Becker, Arnfried Edler, and Beate Schneider, 263-76. Mainz: Schott, 1995.
Index classifications: 1900s
Fassler, Margot E. "The Role of the Parisian Sequence in the Evolution of Notre Dame Polyphony." Speculum 62 (April 1987): 345-74.
The dominance of rhythmic texts in the twelfth-century sequence, conductus, versus, and related genres imposed a structural framework on their musical settings which was crucial to the development of "rhythm" in Notre-Dame polyphony. In the sequence repertory, it was not uncommon to borrow the text and melody from another source and use them as a basis for the composition at hand. The high level of sophistication possible using this technique is illustrated by the use of the hymn Ave maris stella as both a textual and melodic source for the sequence O Maria stella maris, where the music of the sequence is a theme with variations upon the original hymn melody. (RVT)
Index classifications: Monophony to 1300
Faust, Karl. Introduction to brochure notes (Interview with the Composer) for Mauricio Kagel, Ludwig van. DGG 2530 014. Deutsche Grammophon, 1970.
Index classifications: 1900s
Fearn, Raymond. "At the doors of the Kranichstein: Maderna's 'Fantasia' for 2 Pianos." Tempo, no. 163 (December 1987): 14-20.
Index classifications: 1900s
Feder, Georg. "Similarities in the Works of Haydn." In Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on His Seventieth Birthday, ed. H. C. Robbins Landon with Roger E. Chapman, 186-97. London: George Allen and Unwin, 1970.
Deliberate reuse of earlier material is rare in Haydn. Similarities of later works to his earlier compositions do occur but they are apparently due to unconscious borrowing or to different realizations of the same musical idea. Some similarities are better explained as usage of the common archetypal musical vocabulary rather than as plain quotations. Self-borrowing in Haydn usually goes beyond mere repetition of the borrowed material, involving a transformation of the borrowed material or an elucidation of its expressive meaning.
Works: Haydn: Chorus "Su cantiamo" (186), L'Anima del Filosofo (186), Piano Sonata in G Major, Hob. XVI:39 (187), The Creation (187, 192-93), Piano Sonata Hob. XVI:10 (187), Baryton Trio in G Major, Hob. XI:125 (188), L'Isola Disabitata (188), Symphony No. 100 in G Major (188-90), Baryton Trio in G Major, Hob. XI:102 (189-90), Armida (189, 192-93), Baryton Trio in G Major Hob. XI:124, (190), Symphony No. 85 in B flat Major (191-92), Symphony No. 45 in F sharp Minor (192), Cello Concerto in C Major, Hob. VIIb:1 (193), Seven Last Words (194).
Sources: Haydn: Orlando Paladino (186), Piano Sonata in C sharp Minor, Hob. XVI:36 (187), Concerto for Lira, Hob. VIIh:2 (187), Piano Sonata Hob. XVII:D1 (187), Baryton Trio in G Major, Hob. XI:123 (188), Hymnus de Venerabili, No. 4 (188), Symphony No. 61 in G Major (188-90), Baryton Trio in D Major, Hob. XI:91 (189-90), Symphony No. 75 in D Major (189), String Quartet in D Minor, Hob. III:22 (190), Symphony No. 45 in F sharp Minor (191-92), Symphony No. 60 in C Major (192), Symphony No. 68 in B flat Major (192-93), Cantata Destatevi (193), Il Ritorno di Tobia (194). (TB)
Index classifications: 1700s
Feder, Stuart. "Charles and George Ives: The Veneration of Boyhood." The Annual of Psychoanalysis 9 (1981): 265-316.
Index classifications: 1900s
Feder, Stuart. Charles Ives: "My Father's Song"; A Psychoanalytic Biography. New Haven and London: Yale University Press, 1992.
Index classifications: 1900s
Feder, Stuart. "Decoration Day: A Boyhood Memory of Charles Ives." The Musical Quarterly 66 (April 1980): 234-261.
Index classifications: 1900s
Federhofer, Hellmut. "Das Ende der musikalischen Parodie?" Deutsches Jahrbuch der Musikwissenschaft 15 (1970): 96-106.
Index classifications: General, 1900s
Felber, Erwin. "Exotismus und Primitivismus in der neueren Musik." Die Musik 21 (1925): 724-31.
Index classifications: 1900s
Fellerer, Karl Gustav. Beiträge zur Choralbegleitung und Choralverarbeitung in der Orgelmusik des 18/19. Jahrhunderts. Strasbourg, 1932.
Index classifications: 1700s, 1800s
Fellerer, Karl Gustav. "J. S. Bachs Bearbeitung der Missa sine nomine von Palestrina." Bach-Jahrbuch 24 (1927): 123-32.
J. S. Bach's arrangement of Palestrina's Missa sine nomine reflects many of the practices of the eighteenth century. Instruments were added, playing colla parte, and a basso continuo realized for the lowest part. Sometimes a new basso continuo part was created, independent of the voice parts. The use of the breve as tactus was not understood. The original notation was not halved to retain the tactus; rather, the measures themselves were cut in half. Text underlay was altered to keep melismas to a minimum and to make declamation conform to the meter, especially in the bass. The use of accidentals and leading tones emphasized tonality but destroyed the cross-relations and major-minor shifts characteristic of 16th-century music. Bach, however, did not always alter the older model, but tried as much as he could to internalize the old Palestrina style.
Works: Giovanni Pierluigi da Palestrina, arr. Johann Sebastian Bach: Missa sine nomine. (FC)
Index classifications: 1700s
Fellerer, Karl Gustav. "Die Kirchenmusik Palestrinas in ihren stilistischen Grundlagen. 4. Die Cantus firmus Arbeit." Chap. in Palestrina-Studien. Baden-Baden: Valentin Koerner, 1982.
Index classifications: 1500s
Fellerer, Karl Gustav. "Zur Grundlage hermeneutischer Musikbetrachtung." In Beiträge zur musikalischen Hermeneutik, ed. Carl Dahlhaus, 27-31. Regensburg: Bosse, 1975.
Index classifications: General, 1800s, 1900s
Ferand, Ernst. "Über verzierte 'Parodiekantaten' im frühen 18. Jahrhundert." In Bericht über den Internationalen Musikwissenschaftlichen Kongress Wien: Mozartjahr 1956, ed. Erich Schenk, 203-15. Graz and Cologne: Hermann Böhlau, 1958. Published in English as "Embellished 'Parody Cantatas' in the Early Eighteenth Century." The Musical Quarterly 44 (January 1958): 40-64.
Ottavio Durante's Duetti da Camera per imperare a cantare are unique examples of what may be called a "parody cantata." These pieces use Alessandro Scarlatti's solo cantatas as models, but use only the recitatives, not the arias. Durante composed extended introductions, and added a number of devices (including imitation, echo, transpositions, modulations, sequences, variations, and original interpolations) to the original. The version of Durante's Duetti da Camera preserved in Rome, Academy of Santa Cecilia, G. Mss. 302, contains written-out vocal embellishments and figured bass realizations that give a good picture of the performance practices of the day.
Works: Ottavio Durante: Duetti da Camera per imperare a cantare (FC)
Index classifications: 1700s
Filler, Susan M. "Mahler and the Anthology of Des Knaben Wunderhorn." Journal of the Canadian Assocation of Schools of Music 8 (1978): 82-111.
Das himmlische Leben, a Wunderhorn text-setting from Mahler's Fourth Symphony, provides much of the material for that work, and portions of it were incorporated into the first and third movements of the Third Symphony. It was originally to be included in the Third Symphony as its final movement, and, later, as its second movement, though Mahler ultimately changed his mind about both ideas. The fifth, choral movement of the Third Symphony was originally to be part of the Fourth. These changes of mind and heart show the composer's inspiration coming from a single source that resulted in two very different symphonies.
Works: Mahler: Symphony No. 3 in D Minor (90-102), Symphony No. 4 (95-96, 99-100), Symphony No. 5 in C sharp Minor (102, 107), Symphony No. 10 (102), Symphony No. 9 (103).
Sources: Mahler: Des Knaben Wunderhorn (90-107). (MEG)
Index classifications: 1800s, 1900s
Finscher, Ludwig. "Kampf um die Tradition: Johannes Brahms." In Die Welt der Symphonie, ed. Ursula von Rauchhaupt, 165-74. Braunschweig: G. Westermann Verlag, 1972. English translation by Eugene Hartzell as "The Struggle with Tradition: Johannes Brahms." In The Symphony, ed. Ursula von Rauchhaupt, 165-174. London: Thames and Hudson, 1973.
This article was written to accompany a Deutsche Grammophon set of records on the symphony. It discusses Brahms's symphonies in the style of liner notes for a general audience. Brahms's Symphony No. 3, cited as being influenced by Schumann, includes a "near quotation allusion of the principal theme of the first movement [of Schumann's Rhenish Symphony]." (BJT)
Index classifications: 1800s
Finscher, Ludwig. Loyset Compère (c. 1450-1518): Life and Works. Rome: American Institute of Musicology, 1964.
Index classifications: 1400s, 1500s
Finscher, Ludwig. "Zum Parodieproblem bei Bach." In Bach-Interpretationen, ed. Martin Geck, 94-105. Göttingen: Vandenhoeck & Ruprecht, 1969.
Index classifications: 1700s
Finson, Jon W. "The Reception of Gustav Mahler's Wunderhorn Lieder." Journal of Musicology 5 (Winter 1987): 91-116.
The reception during Mahler's lifetime of his songs based on the Wunderhorn texts was unusually varied. As explanation for this, Mahler's use of the texts may be linked with a debate, which began with the publication of the texts of Des Knaben Wunderhorn in 1805-8 and spanned the nineteenth century, between those who wished to preserve the German folk heritage in its purest form and those who saw it as a malleable commodity for a politico-cultural end. Art, too, exhibited this tension between "folk" and "folk-like" material, and Mahler's Wunderhorn songs, which manipulate pre-existing folk material in a "high-art" setting, fall on the latter side of the debate. It was sensitivity to his place within that tension that informed the reception of the songs by contemporary critics.
Works: Mahler: Lieder aus des Knaben Wunderhorn. (SR)
Index classifications: 1800s
Finson, Jon. "Music and Medium: Two Versions of Manilow's 'Could it be Magic.'" The Musical Quarterly 65 (April 1979): 265-80.
Barry Manilow and Adrienne Anderson wrote two versions of the 1975 hit "Could it be Magic." The first version was intended for the LP and FM radio airplay, while a substantially shortened second version was intended for a 45 single and AM radio airplay. "Could it be Magic" quotes intact a substantial amount of Chopin's Prelude Op. 28, No. 20 in C minor; the first version of the song begins with measures one through eight of the prelude and ends with measures nine through thirteen of the prelude. There are several possible reasons for quoting Chopin: this could be simply another example of the growing number of rock musicians who quote classical music; the composers seem to share a fascination for modal ambiguity with Chopin; Chopin's preludes have become part of a narrow canon of classical music known to composers of all musical genres; and the constant demand for novelty in the popular music industry has encouraged popular music artists to draw from other styles to ensure quick composition. The two versions of Manilow's song allow us to examine how a popular artist responds to the demands of different media. (FMM)
Index classifications: 1900s, Popular
Fischer, Kurt von. "Kontrafakturen und Parodien italienischer Werke des Trecento und frühen Quattrocento." Annales Musicologiques 5 (1957): 43-59.
Bartolomeo di Bononia and Antonio Zacara da Teramo based some Mass movements on their ballate. Bartolomeo's ballata Vince con lena makes up the middle section of the corresponding Gloria. Since the composer of the Mass changed hardly anything in the source, which he incorporated as a whole, this is a case of contrafactum. Zacara, however, segmented and rearranged his ballate Rosetta che non cançi, Un fior gentil, and Deus deorum horizontally, using some of their melodic material also in the free sections. The contratenor (probably not by Zacara) may have been added later. Thus Zacara's technique denotes a transitional stage from contrafactum to the parody Masses of Ockeghem, Faugues, and Bedingham.
Works: Salve mater Jesu (45); Est illa (45); Dilectus meus misit (45); Virgo beata (45); "Kyrie" (Munich, Bayrische Staatsbibl., mus. 3232 a, fol. 58v-59) (46); motet Beatum incendium (46); Bartolomeo di Bononia: Et in terra (Oxford, Bodl. Can. misc. 213, no. 317) (47); Zacara: Et in terra Rosetta (Bologna, Conservatorio di Musica G. B. Martini, Q 15, no. 56) (47), Et in terra Fior gentil (Bologna, Conservatorio G. B. Martini, Q 15, no. 58) (47), Patrem Deus deorum (Bologna, conservatorio G. B. Martini, Q 15, no. 59) (47). (AG)
Index classifications: 1300s, 1400s
Fisher, Fred. Ives' Concord Sonata. Denton, Texas: C/G Productions, 1981.
Index classifications: 1900s
Fisher, Fred. "Ives's Concord Sonata." Piano Quarterly 92 (Winter 1975-76): 23-27.
Ives's Concord Sonata is probably modeled on monumental piano sonatas by Beethoven and Liszt. More specifically, Ives borrowed a motive from Brahms's Second Piano Sonata, Op.2, perhaps intentionally. In its basic form the motive consists of a three-note scale fragment followed by a downward leap of a fifth. William S. Newman has remarked that the Brahms motive reduces to this same basic motive. Ives may have borrowed intentionally, since his teacher Horatio Parker idolized Brahms and since Brahms themes and influences occur in other works by Ives. Also, Ives called the Concord Sonata his second even though he had already written two (he wrote the Three-Page Sonata in 1905).
Works: Ives: Second Piano Sonata ("Concord")
Sources: Brahms: Second Piano Sonata, Op.2. (DB)
Index classifications: 1900s
Fiske, Roger. "Handel's Organ Concertos: Do they Belong to Particular Oratorios?" Organ Yearbook 3 (1972):14-23.
Index classifications: 1700s
Fiumara, Anthony. "Escobedo's Missa Philippus Rex Hispanie: A Spanish Descendent of Josquin's Hercules Mass." Early Music 27 (February 2000): 50-62.
Due to the lack of primary sources regarding Bartolomé de Escobedo, relatively little research has been published about him or his works. A close inspection of the Missa Philippus Rex Hispanie, however, leads one to believe that the composition was modeled after Josquin's Missa Hercules Dux Ferrarie. Escobedo may have come across the work in a Spanish manuscript or while serving as a member of the Papal Chapel. The most obvious connection between the Masses is the use of a soggetto cavato, which is a theme based on the vowels of the name of the addressee of the Mass. Escobedo also follows Josquin in that the soggetto is usually presented in the second tenor, points of imitation generally occur in ascending order, and Escobedo transposes the soggetto by the same intervals as Josquin. The formal divisions of each movement also mirror those of the Josquin Mass. Escobedo also employs an unusual mensurational trick in the Agnus Dei that is also found in Josquin's Missa L'homme armé super voces musicales.
Works: Bartolomé de Escobedo: Missa Philippus Rex Hispanie (50-62).
Sources: Josquin des Prez: Missa Hercules Dux Ferrarie (54-62), Missa L'homme armé super voces musicales (61). (REG)
Index classifications: 1500s
Flanagan, David. "Some Aspects of the Sixteenth-Century Parody Mass in England." The Music Review 48 (February 1988): 1-11.
Although the parody mass never attained the same importance in England as it did elsewhere in Europe, English composers of the early sixteenth century were aware of parody techniques. Three masses in the Peterhouse part-books, Missa O bone Jesu by Robert Fayrfax, Missa Salve intemerata by Thomas Tallis, and Missa Mater Christi by John Taverner, each borrow polyphonic material from a votive antiphon by the composer of the mass. The use of parody technique, rather than being motivated by liturgical considerations, may have been prompted by a desire to be free of the demands of specific liturgical connections. Contrary to their Continental colleagues, Tudor composers tended to transfer borrowed material more or less intact, making only those rhythmic alterations necessary for the declamation of another text. In Tavener's mass, however, the reworking is more extensive than has been thought. More than half of it is freshly composed, while only about a quarter of Tallis's mass is new material. Since Fayrfax, Taverner, and Tallis based these masses on models of their own composition, their choice of models was not motivated by the desire to pay homage to another composer. Taverner's influence, on the other hand, was manifested in works by composers who followed him, even as late as William Byrd, through the employment of compositional techniques that Taverner had used in his parody masses.
Works: Rasar: Missa Christe Jesu; Fayrfax: Missa O bone Jesu; Tallis: Missa salve intemerata, Strene Mass; Taverner: Missa Mater Christi, Western Wind Mass, Small Devotion Mass (or Sancte Wilhelme Mass), Meane Mass, Playnsong Mass; Tye: Western Wind Mass, Enge bone Mass, Meane Mass; Shepperd: Western Wind Mass, Frances Mass. (MP)
Index classifications: 1500s
Fleury, Albert. "Historische und stilgeschichtliche Probleme in Pfitzner's Palestrina." In Helmuth Osthoff zu seinem siebzigsten Geburtstag, ed. Ursula Aarburg and Peter Cahn in connection with Wilhelm Stauder, 229-39. Tutzing: Hans Schneider, 1969.
Index classifications: 1900s
Flinn, Carol. "Male Nostalgia and Hollywood Film Music: The Terror of the Feminine." Canadian Music Review 10 (Summer 1990): 19-26.
The score to Edgar G. Ulmer's 1945 film Detour exemplifies the duplicitous portrayal of women through the employment of music that strongly evokes nostalgia and longing. Detour belongs to the 1940s detective film genre known as film noir, which often uses music to support references to the past. Flashback narrative structures are commonly used in film noir to explain the present or the film as a whole. Women are often portrayed in this genre as either the good and wholesome virgin-mother or as the undermining villainous beauty. The song "I Can't Believe That You're in Love with Me," by Jimmy McHugh, becomes a reoccurring leitmotif for nostalgic references to the character's past throughout the film, played on the jukebox and later scored off-screen by blending from the song to a Brahms lullaby. "I Can't Believe That You're in Love with Me" is especially effective at evoking nostalgia as a 1927 Tin Pan Alley song, performed by Count Basie, Earl Hines, Ella Fitzgerald, and Bing Crosby; the 1945 filmgoers recognized the tune not as a current hit, but one of the past. Brahms's Waltz in A flat, Op. 39, No.15, is used to signify the intensification of the obsession with nostalgia as the villainous heroine abandons the detective. Home Sweet Home is later used to reinforce the sense of nostalgia as the detective is reunited with the heroine.
Works: Leo Erdody: score to Detour (19).
Sources: Jimmy McHugh: I Can't Believe That You're in Love with Me (20); Brahms: Waltz in A flat, Op. 39, No. 15 (23); Henry R. Bishop: Home Sweet Home (23). (KEW)
Index classifications: 1900s, Film
Floros, Constantin. Brahms und Bruckner: Studien zur musikalischen Exegetik. Wiesbaden: Breitkopf und Härtel, 1980.
This book is the result of Floros's intensive study of Mahler, during which he found hitherto undiscovered clues to the interpretation of Brahms's and Bruckner's works. Most of the borrowings discussed confirm differences between the two composers in both ideologies and musical heritage. A comparison of the German Requiem by Brahms and the F Minor Mass by Bruckner shows that the corresponding excerpts from the Credo use different models. Brahms used Bach's cantata Wer weiss wie nahe mir mein Ende BWV 27, whereas Bruckner borrowed from Liszt's Graner Messe (41-51). The indebtedness of Brahms to Mendelssohn (64f.) and Schumann (124-143) and of Bruckner to Wagner (159f., 171-78 and 211-13) and Liszt (159f., 167-70) is underlined with many musical examples. That Bruckner modeled the second movement of his Fourth Symphony on Berlioz's March of the Pilgrims from Harold en Italie is the clue to his program (Lied, Gebeth, Ständchen), since the same sequence of sections is found in Berlioz's work. Movements or whole symphonies by Bruckner can beinterpreted by a comparison with Wagner's operas. Thematic concordances with the monologue of The Flying Dutchman (Act I, Scene II) lead to a psycho-programmatic interpretation of the Eighth Symphony, an interpretation that extends Bruckner's own vague explanations. Even if the two composers borrow from the same piece, they emphasize different aspects. Both of them emulated aspects of Beethoven's Ninth Symphony. Brahms's interest (First Symphony, last movement) lies in the Freudenmelodie and the recitative character of the introduction to the last movement, whereas Bruckner imitates the flash-backs, the rondo-like adagio and the original opening of the first movement (55-60).
Works: Brahms: Symphony No. 1 (56f.), Symphony No. 4 (64f.), Schumann Variations, Op. 9 (124-51), Ein Deutsches Requiem (41-47); Bruckner: Symphony No. 3 (51, 159, 168-70), Symphony No. 4 (159, 178-81), Symphony No. 8 (159f., 186-88, 21113), Symphony No. 9 (51, 168-70), Mass in F Minor (41-44, 50), Mass in D Minor (44, 51), Mass in E Minor (168-70), Helgoland (168-70), Tota pulchra es (168-70). (AG)
Index classifications: 1800s
Floros, Constantin. Gustav Mahler II: Mahler und die Symphonik des 19. Jahrhunderts in neuer Deutung. Wiesbaden: Breitkopf und Härtel, 1977.
Floros discusses three main elements of Mahler's music with the aim of a philosophical or programmatic interpretation: form and formal procedures; the use of specific genres such as chorale, pastorale, march, scherzo, and dancelike movements; and interpretation of symbols. All the elements are interpreted in the context of other composers, especially Berlioz, Liszt, and Bruckner. In interpreting the first two categories, Floros focuses on Mahler's position in the history of music. But in the third category, by locating the same musical symbols (e.g. the tonisches Symbol des Kreuzes in Liszt and Bruckner; see also Floros, Gustav Mahler III: Die Symphonien, 1985) in works of other composers where the meaning is clear, Floros can offer interpretations that would otherwise be impossible. Without the interpretation of symbols, no real progress in musicology is possible. (AG)
Index classifications: 1800s, 1900s
Floros, Constantin. Gustav Mahler III: Die Symphonien. Wiesbaden: Breitkopf und Härtel, 1985.
Floros's study of Mahler's music is an attempt to interpret it comprehensively, taking into account especially Mahler's intellectual background. In these semantic analyses, the author discusses borrowings and quotations of all sorts: (1) quotations of tunes and their integration into compositions (e.g. Bruder Martin in the First Symphony), (2) borrowings of complete sections (e.g. in the Second Symphony), (3) reuse of whole songs (e.g. Urlicht in the Second Symphony), and (4) quotation of short motives (such as the beginning of Dies irae or Liszt's tonisches Symbol des Kreuzes ["sounding" symbol of the cross]) to symbolize titles or programs. Decoding these borrowings is one of the most important steps in finding the program that is the basis even of the purely instrumental symphonies. Above all, some passages can be interpreted by comparison to similar passages from works by Richard Strauss where their meaning is clear. These comparisons may throw light on composition dates, for instance that of the Scherzo of the Sixth Symphony. (AG)
Index classifications: 1800s, 1900s
Floros, Constantin. "Parallelen zwischen Schubert und Bruckner." In Festschrift Othmar Wessely zum 60. Geburtstag. Tutzing: Hans Schneider, 1982.
Index classifications: 1800s
Floros, Constantin. "Das 'Programm' in Mozarts Meisterouvertüren." Studien zur Musikwissenschaft 26 (1964): 140-86.
Index classifications: 1700s
Floros, Constantin. "Die Skizzen zum Violinkonzert von Alban Bergs." In Alban Berg Symposion 1980, Alban Berg Studien 2, ed. Rudolf Klein, 000-000. Wien: Universal Edition, 1981.
Index classifications: 1900s
Floros, Constantin. "Die Zitate in Bruckners Symphonik." In Bruckner Jahrbuch 1982/83, ed. Othmar Wessely, 7-18. Linz: Akademische Druck- und Verlagsanstalt, 1984.
Quotation in Bruckner's music allows a deep view into his compositional method, psyche, and spiritual state. Bruckner cited his own masses in his symphonies along with quotations from Haydn, Liszt, and Wagner. Long thought to be "absolute" music, Bruckner's compositions carry significant semantic meaning when the composer desired. (BJT)
Index classifications: 1800s
Floros, Constantin. "Zur Deutung der Symphonik Bruckners: Das Adagio der Neunten Symphonie." In Bruckner-Jahrbuch 1981, ed. Franz Grasberger, 89-96. Linz: Druck- und Verlagsanstalt Gutenberg, 1982.
The final movement of Bruckner's Ninth Symphony is not "absolute music," since it contains religious symbols and allusions to the composer's approaching death. This conclusion is supported by taking into account not only sketches, structural analysis, and Bruckner's own hermeneutic statements, but also interpretations of borrowed material. In his opening theme, for example, Bruckner strongly alludes to his Fifth Symphony, the Sehnsuchtsmotiv from Wagner's Tristan, and the "Dresden Amen" from Parsifal. The following climax (or Klangfläche) quotes Liszt's "symbol of the cross" from the Graner Messe, and the second theme (letter C) presents and develops a motive ("miserere") taken from the D Minor Mass. Several other self-quotations (from the Benedictus of the Mass in F Minor and the Seventh and Eighth Symphonies) reinforce the impression of the look back suggested by Bruckner himself for the passage at letter B ("Abschied vom Leben," mm. 29-44).
Works: Bruckner: Symphony No. 3 (90), Symphony No. 9, Mass in D Minor (90). (AG)
Index classifications: 1800s
Flothuis, Marius. "Einige Betrachtungen über den Humor in der Musik." Österreichische Musikzeitschrift 38 (December 1983): 688-95.
Among several devices mentioned in this article which have been used for humorous effect in music is quotation. Various means of achieving humor through quotation are by paradox, pun, parody, and exploiting the historical significance of the music quoted, all of which assume previous knowledge on the part of the listeners of the music being referred to.
Works: Beethoven: Es war einmal ein König, der hatt' einen grossen Floh (693); Chabrier: Souvenirs de Munich (692); Debussy: "Golliwog's Cake Walk," from Children's Corner (691); Falla: The Three-Cornered Hat (692); Saint-Saëns: Le Carnaval des Animaux (690); Satie: Sonatine bureaucratique (695). (RCL)
Index classifications: General, 1800s, 1900s
Flothuis, Marius. "From Quotation to Plagiarism." Chap. in Notes on Notes: Selected Essays. Translated by Sylvia Broere-Moore. Buren: Kuf, 1974.
Index classifications: General
Flothuis, Marius. "Kapellmeistermusik." In Mahler-Interpretation: Aspekte zum Werk und Wirken Gustav Mahlers, ed. Rudolf Stephan, 9-16. Mainz: Schott, 1985.
Index classifications: 1800s, 1900s
Flotzinger, Rudolf. Der Discantussatz im Magnus liber und seiner Nachfolge. Vienna, 1969.
Index classifications: Polyphony to 1300
Flotzinger, Rudolf. "Die Melodie zu Wolfgang Schmeltzls Türkenlied." In Festschrift Othmar Wessely, ed. Manfred Angerer, Eva Diettrich, Gerlinde Haas, Christa Harten, Gerald Florian Messner, Walter Pass, and Herbert Seifert, 147-49. Tutzing: Hans Schneider, 1982.
Index classifications: 1500s
Floyd, Samuel A. Jr. "Troping the Blues: From Spirituals to the Concert Hall." Black Music Research Journal 13, no. 1 (Spring 1993): 31-51.
African-American music has continually used the troping of texts in blues, jazz, and other popular traditions. Two examples of troping occur in the use of the spiritual "Sometimes I Feel Like a Motherless Child" and the riding train. Troping of the spiritual has occurred on the textual and musical level. Furry Lewis tropes the idea of a motherless child in his piece "Big Chief Blues." Washington "Bukka" White also creates his trope relating to the motherless child in "Panama Limited" while singing about being far from home. Musical troping can be found in George Gershwin's repetition of the tune of "Sometimes I Feel Like a Motherless Child" in the piece "Summertime" from the opera Porgy and Bess. Gershwin tropes the spiritual's intervallic structure, rhythm, melodic structures, and beat structure throughout "Summertime." David Baker and Olly Wilson also trope the music and text of "Sometimes I Feel Like a Motherless Child." The train trope deals in the sounds created by a passenger train throughout the United States. Duke Ellington's composition "Happy-Go-Lucky-Local" tropes the passenger train through its use of chugging rhythms, whistles, and sounds of steam locomotives through orchestration. These tropes display an evolution in African-American music through repetition and revision of texts and music.
Works: Traditional: Big Chief Blues as performed by Furry Lewis (36-37); White: Panama Limited (37); Gershwin: "Summertime" from Porgy and Bess (37-43); Baker: Through This Vale of Tears (43-44); Wilson: Sometimes (44-45); Ellington: Happy-Go-Lucky-Local (46-47); Logan: Runagate Runagate (47-50).
Sources: Traditional: Sometimes I Feel Like a Motherless Child (35-45). (MDA)
Index classifications: 1900s, Jazz
Flynn, George W. "Listening to Berio's Music." The Musical Quarterly 61 (July 1975): 388-421.
Both musical and literary quotations are present in Berio's work. In Laborintus II, quotations are drawn from Dante, Pound, the Bible, Eliot, and Sanguineti; furthermore, an added text recalls a work by Isidore of Seville. The texts are presented in collage technique. In Sinfonia, musical and literary collage is involved. The third section is primarily based on Mahler's scherzo of the Second Symphony for the musical and on writings of Beckett for the textual continuity. The fifth section presents a collage of elements from the previous sections. Another work in which musical and textual collage is present is Recital I (for Cathy). (DCB)
Index classifications: 1900s
Forte, Allen. "Middleground Motives in the Adagietto of Mahler's Fifth Symphony." 19th-Century Music 8 (Fall 1984): 153-63.
Forte mentions the relationship between the second song of the Kindertotenlieder and the Adagietto of the Fifth Symphony. (DCB)
Index classifications: 1900s
Forte, Allen. "The Structural Origin of Exact Tempi in the Brahms-Haydn Variations." The Music Review 18 (May 1957): 138-49.
Tempi in the Variationen über ein Thema von Joseph Haydn are determined by rhythmic figures which are in turn dictated by melodic patterns present in the theme. Although the analysis of this composition and its rhythmic elements is not Schenkerian, the terminology derives from Schenker's system. The discussion of the background, middleground, and foreground demonstrates at three levels how the melody provides inherent patterns through individual note groupings, tonal values, and recurring pitch accents. The interrelation of these areas can be described as either subdivisions or shifting of rhythmic units, and all of the rhythmic constructions stem from these techniques. The exact tempi derive from correlations between the variations; in order to maintain the perception of proper stress and accent (as dictated by the analysis), it becomes necessary to stay within the confines of a narrow range of tempo. (EH)
Index classifications: 1800s
Foss, Lukas. "Foss Talks About 'Stolen Goods' and the Mystique of the New." Music and Artists 3 (September/October 1970): 34-35.
In an interview Foss discusses his Phorion (Greek for "stolen goods") as a "controlled chance" composition based on the prelude from J. S. Bach's Partita for Solo Violin in E. Designed so that each performance is unique, the work incorporates Morse code and instructs performers to "race" each other through technically challenging passages of Bach's music. Foss also discusses critical reaction, including a German orchestra that took a vote on whether to perform the "desecration" of Bach, prompting Foss to observe that "the Germans are a very tender and sensitive people." (Foss, a Jew, left Germany as a refugee in 1933.) Bach is not harmed by Phorion; his music exists intact independently of its treatment in this work. If audiences are uncertain how to respond, that is Foss's intent. Violence in art, such as Foss is committing here, in fact communicates a message of non-violence. (DL)
Index classifications: 1900s
Foster, Donald. "Parodies on Clérambault Cantatas by Nicolas Grandval." Recherches sur la Musique française classique 4 (1964): 120-26.
Nicholas Racot de Grandval (c. 1676-1753) wrote two cantatas parodying the successful cantatas of Louis-Nicholas Clérambault, Orphée and Léandre et Héro. A third cantata by Grandval, Rien du tout, is a pasticcio on arias by Clerambault and others. Grandval wrote his own texts, quoting and paraphrasing parts of Clerambault's texts for comic effect. (Allez, Orphée, allez, allez becomes Allez, Orphée, allez au Diable.) Grandval incorporated two brief musical quotations from Clérambault in each parody. He used popular tunes of the time as additional musical material. (NKT)
Index classifications: 1700s
Fox, Charles Warren. "Ein fröhlich Wesen: The Career of a German Song in the Sixteenth Century." In Papers Read by Members of the American Musicological Society at the Annual Meeting Held in Pittsburgh, Pa., December 29 and 30, 1937, 56-74. N.p., 1938.
Index classifications: 1500s
Franke, Veronica. "Borrowing Procedures in the Late-16th-Century Imitation Masses and Their Implications for Our View of 'Parody' or 'Imitation.'" Studien zur Musikwissenschaft 46 (1998): 7-33.
As the sixteenth century progressed, imitation technique moved away from the restructuring of motivic complexes toward a manipulation of texture and sonority built increasingly on the bass part. Borrowed voices are freely manipulated, and may appear in different registers and order. Borrowing of multiple voices may be taken from well within, rather than at the beginning of, points of imitation, thus de-emphasizing the polyphonic origins of the borrowing. An increasing polarization is seen toward the outer voices. The concern of the composer shifts from the horizontal line to the vertical intervallic structure, with added emphasis on vocal orchestration and tonal contrast. This suggests an additional category of mass settings derived from polyphonic sources: "imitation masses emphasizing vertical structures, governed by a structural bass."
Works: Giovanni Pierluigi da Palestrina: Missa Tu es Petrus (12-16), Missa Laudate Dominum (16-18), Missa Ascendo ad Patrem (19-21); Phillipp de Monte: Missa La dolce vista (22-26); Orlando de Lassus: Missa Osculetur me osculo (26-30); Costanzo Porta: Missa Descendit angelus (30-31).
Sources: Giovanni Pierluigi da Palestrina: Tu es Petrus (12-16), Laudate Dominum (16-18), Ascendo ad Patrem (19-21); Phillipp de Monte: La dolce vista (22-26); Orlando de Lassus: Osculetur me osculo (26-30); Hilaire Penet: Descendit angelus (30-31). (FC)
Index classifications: 1500s
Freeman, John W. "Berlioz and Verdi." In Il teatro e la musica di Giuseppe Verdi: Atti del IIIo congresso internazionale di studi verdiani (Milano, Piccola Scala, 12-17 giugno 1972), ed. Mario Medici, 148-65. Parma: Istituto di studi verdiani, 1974.
Index classifications: 1800s
Freeman, Robert N. "The Tafelmusik in Don Giovanni." The Opera Journal 9 ([March] 1976): 22-32.
The finale to the second act of Don Giovanni includes the famous (and identified) quotations of Martin y Soler's Una cosa rara ("O quanto un si bel giubilo," from the last part of the finale of Act I), Giuseppe Sarti's Fra i due litiganti il terzo gode ("Come un' agnello," from Act I, scene 7), and Mozart's own Figaro "Non più andrai"). These quotations are from the operatic "smash hits" of the 1780's. The overall scene is modelled upon the analogous scene in the Gazzaniga-Bertasi version of Don Giovanni. The use of a wind octet (with cello), combined with the quotations, alludes to the common practice of arranging popular operas for wind ensembles. The melody of "Non più andrai" returns in the last year of Mozart's life in the first contra-dance of K. 609. The practice of quotation and self-quotation is as old as composition itself although each age uses the borrowed material to its own ends. (DCB)
Index classifications: 1700s
Frei, Walter. "Gedanken zum Gegebenen des Cantus firmus." Musik und Kirche 32, no. 5 (September/October 1962): 212-18.
Frei traces a history of the cantus firmus from its beginnings in the ninth century through the early seventeenth century, adding a comparison of its contemporary application. The cantus firmus in sacred compositions of the early Middle Ages expresses belief in the absolute. Only through submission to its laws does man become free to participate in the essential. In secular motets, the tenor still stands for the primacy of the sacred reference, which increasingly loses its importance in the Renaissance (secular tenors) and experiences a short revival in the form of the German chorale. Contemporary composers may resort to sacred cantus firmi for two reasons, either a false escape from religious and musical insecurity or an expression of the consciousness of what we have lost. (AG)
Index classifications: General
Frimmel, Theodor. "Schubert und Beethoven." Die Musik 17 (1925): 415-[???].
Index classifications: 1800s
Frisch, Walter. "The 'Brahms Fog': On Tracing Brahmsian Influences." The American Brahms Society Newsletter 7, no. 1 (Spring 1989): 1-3.
Brahms's influence on the composers of the succeeding generation has often been slighted or eclipsed by the "white heat" of Wagner's effect on the same artists. Traces of Brahms are apparent in many late-nineteenth-century composers ranging from Herzogenberg, who plagiarized his oeuvre, to Reger and Schoenberg, who were both indebted to him for pianistic models.
Works: Herzogenberg: Symphony No. 1 in C Minor (2); Reger: Resignation (3). (EH)
Index classifications: 1800s, 1900s
Frith, Simon, ed. Music and Copyright. Edinburgh: Edinburgh University Press, 1993.
[Addresses sampling and other recent borrowing issues.]
Index classifications: General, 1900s
Fromson, Michèle. "A Conjunction of Rhetoric and Music: Structural Modelling in the Italian Counter-Reformation Motet." Journal of the Royal Musical Association 117 (1992): 208-46.
Following Howard Mayer Brown (1982), one can draw increasingly fruitful connections between the rhetorical technique of imitatio prescribed by fifteenth-century rhetoriticians and the compositional borrowing procedures espoused by the composers of the time. Defining formal divisions using Zarlino's five types of cadences (Istitutione harmoniche 1558), the musicologist can then compare settings of the same text for indications of "structural modelling." Five types include (1) imitation of the existing opening; (2) imitation of the existing closing; (3) imitation of the existing contrapuntal elisions and connecting passages; (4) borrowing the number of breves for the setting of each textual section; and (5) borrowing the number of breves for the setting of each textual section, with systematic, proportional expansion or diminution. The concealed, and fairly tenuous, fashion in which these connections often reveal themselves raises the question of the purpose of the borrowing. One possible answer lies in the schooling of the sixteenth-century composer, which would have included Latin rhetoric (taught usingimitatio ), thereby making tbe technique of modeling a natural part of a composer's intellectual background. They would draw on this training as a compositional resource, in addition to wishing simply to pay homage to a respected master.
Works: Croce: O Sacrum Convivium; Gabrieli: O Sacrum Convivium; Lassus: O Sacrum Convivium; Luzzaschi: O Sacrum Convivium; Marenzio: O Sacrum Convivium; Merulo: O Sacrum Convivium; Pallavicino: O Sacrum Convivium; Porta: O Sacrum Convivium; Victoria: O Sacrum Convivium; Wert: O Sacrum Convivium; Vecchi: Quem Vidis Pastores; Victoria: Quem Vidis Pastores; Marenzio: Veni Sponsa Christi; Palestrina: Veni Sponsa Christi . (EDL)
Index classifications: 1500s
Fromson, Michèle. "Themes of Exile in Willaert's Musica nova." Journal of the American Musicological Society 47 (Fall 1994): 442-88.
Index classifications: 1500s
Fulcher, Jane. "Speaking the Truth to Power: The Dialogic Element in Debussy's Wartime Compositions." In Debussy and His World, ed. Jane Fulcher, 203-34. Princeton: Princeton University Press, 2001.
One of the most striking elements in Debussy's wartime compositions, including the piano sonata En blanc et noir and the song Noël des enfants qui n'ont plus de maison, among other pieces, is his tendency to politicize his music. He wrote during a time in which the French government had great control over cultural products, and his musical language reflects this. Accompanying this polemic are notable instances of borrowing in En blanc et noir and Noël des enfants. Debussy dedicated the second movement of En blanc et noir, "Lent et sombre," to his friend Lt. Jacques Charlot, who was killed in World War I. In order to create a solemn character, Debussy used nonfunctional and static harmonies, evoking a "funeral drone." In doing so, he stylistically alluded to the Renaissance tombeau, a piece to mourn the dead, often used by Clément Janequin. Further, he used Luther's hymn Ein feste Burg within a discordant setting, deliberately removing it of its triumphal qualities. In Noël des enfants, Debussy also used stylistic allusion, in this case to Schubert, by recalling the "menacing" and "ironic" character of Erlkönig. He evoked the spirit of Schubert's song by using a child as the subject of the song and by composing a fast-paced, vigorous accompaniment. In addition, Debussy employed structural modeling by basing the song on a Lied. His instances of borrowing serve a larger role within the political framework of the French republic.
Works: Debussy: En blanc et noir (216-20); Noël des enfants qui n'ont plus de maison (220).
Sources: Luther: Ein feste Burg (218-19); Schubert: Erlkönig (220). (KJL)
Index classifications: 1900s
Fuller, Sarah. "Additional notes on the 15th-century chansonnier Bologna Q16" Musica Disciplina 23 (1969).
Index classifications: 1300s
Fuller, Sarah. "Modal Tenors and Tonal Orientation in Motets of Guillaume de Machaut." In Studies in Medieval Music: Festschrift for Ernest H. Sanders, ed. Peter M. Lefferts and Brian Seirup. Also in Current Musicology 45-47 (1990): 199-245.
Index classifications: 1300s
Funk-Hennings, Erika. "Zimmermanns Philosophie der Zeit--dargestellt an Ausschnitten der Oper Die Soldaten." Musik und Bildung 10 (October 1978): 644-52.
Index classifications: 1900s