Gabbard, Krin. "The Quoter and His Culture." In Jazz in Mind: Essays on the History and Meanings of Jazz, ed. Reginald T. Bruckner and Steven Weiland, 92-111. Detroit: Wayne State University Press, 1991.
Jazz today can be considered part of the avant garde movement of the early twentieth century. One of the common characteristics of the avant garde is pastiche, a characteristic jazz shares, particularly in improvisatory virtuosic solos. The purpose of such pastiche is to call into question the distinction between high and low art. Soloists such as James Moody, Lester Young, and Louis Armstrong regularly quoted other works from both the classical tradition and the popular tradition. Juxtaposing a jazz melody with a quotation from the classical tradition provides irony for the listener, who will understand at least that the quotation comes from an entirely different genre of music. A list of several examples is included.
Works: James Moody, Body and Soul (92, 104); Louis Armstrong, Ain't Misbehavin' (93); more in footnotes.
Sources: Percy Grainger, Country Garden; George Gershwin, Rhapsody in Blue. (FMM)
Index classifications: 1900s, Jazz
Gabbard, Krin. Jammin' at the Margins: Jazz and the American Cinema. Chicago: University of Chicago Press, 1996.
Jazz in Hollywood films creates a context for the formation of a stylized representation of African-American culture, beginning with The Jazz Singer (1927). American myths regarding white ethnics and African-American sexuality are assimilated through the borrowing of African-American music, specifically jazz, as used in director Alan Crossland's The Jazz Singer (1927) and Paul Whiteman's King of Jazz (1930), and later in Alfred E. Green's The Jolson Story (1946) and Luis Valdez's La Bamba (1987). Spike Lee's Mo' Better Blues portrays the larger tradition in which the trumpet is a crucial signifier of masculinity, by borrowing from the music of Louis Armstrong and Miles Davis. In contemporary films, jazz has been configured to signify elegance and affluence as an art form through borrowings from Ellington, Armstrong, Nat King Cole, and Carmichael.
Works: Charles Wolcott: score to Blackboard Jungle (9); Taj Mahal: score to Zebrahead (101); Alfred Newman: score to No Way Out (102); Hugo Friedhofer, Edward B. Powell, and Marvin Hatley: score to Topper (256); Franz Waxman and William Lava: score to To Have and Have Not (261).
Sources: Max C. Freedman and Jimmy DeKnight: Rock Around the Clock (9); John Coltrane: Say It Over and Over Again (102); Duke Ellington: In a Sentimental Mood, Sophisticated Lady (102); Nat King Cole: When I Fall in Love (247); Hoagy Carmichael: Old Man Moon (256), I Am Blue (261). (KEW)
Index classifications: 1900s, Film
Gajewski, Ferdinand. "Lizst's Polish Rhapsody." Journal of the American Liszt Society 31 (January-June 1992): 34-37.
Liszt's Salve Polonia, published in 1884, has long languished in obscurity, overshadowed by the composer's Hungarian rhapsodies. This Polish rhapsody, however, deserves more attention, especially for its incorporation of two Polish national themes. First, Liszt placed the Polish national hymn, Boze, cos Polske in the opening Andante pietoso section. In the second and final section, the Polish national anthem Jeszce Polska nie zgiela appears. Liszt had already composed much of the music from Salve Polonia in his unsuccessful efforts to complete an oratorio, Die Legende vom heiligen Stanislaus.
Works: Liszt: Salve Polonia (34, 36).
Sources: Kurpinsky: Boze, cos Polske (34-36); Oginsky: Jeszce Polska nie zgiela (34-35). (EU)
Index classifications: 1800s
Gallico, Claudio. "Alcuni canti di tradizione popolare del repertorio rinascimento italiano." In Liedstudien: Wolfgang Osthoff zum 60. Geburtstag, ed. Martin Just and Reinhard Wiesend, 121-35. Tutzing: Hans Schneider, 1989.
Index classifications: 1500s
Garlington, Aubrey S. "LeSueur, Ossian, and Berlioz." Journal of the American Musicological Society 17 (Summer 1964): 206-8.
Berlioz probably derived the title to his Symphonie fantastique from a scene in Act IV of Ossian ou Les Bardes, by LeSueur, in which the words simphonie fantastique were printed in the full score. Similarities, both orchestral and programmatic, between the two works strengthen the connection. (WPS)
Index classifications: 1800s
Gauldin, Robert. "Wagner's Parody Technique: 'Träume' and theTristan Love Duet." Music Theory Spectrum 1 (1979): 35-42.
Surface thematic resemblances between Richard Wagner'sWesendonck-Lieder and his operaTristan und Isolde indicate that the songs were borrowed from in the composition of the later opera. Deeper and more subtle relationships between the two, however, indicate that the songs were studies for the opera, and were parodied in more profound ways, as well. In addition to resetting three sections of "Träume" in the Love Duet with very few alterations, Wagner uses a similar voice-leading pattern in the first sections of the two pieces, an ascent through an octave (Eb to Eb). He also explores bVI and bIII as tonal areas in both sections. In the second sections, Wagner uses bVI as a pivot, retains the same basic harmonic scheme, and employs the octave ascent (Eb to Eb) once again. In terms of the opera as a whole, bVI and bIII figure prominently after the occurrence of the Love Duet. All of these relationships combine to indicate that Wagner employed a kind of parody technique in Tristan. (EDL)
Index classifications: 1800s
Gaunt, Kyra. "The Veneration of James Brown and George Clinton in Hip Hop Music: Is It Live! Or Is It Re-memory?" In Popular Music: Style and Identity, 117-22. Montreal: Centre for Research on Canadian Cultural Industries and Institutions, 1995.
Index classifications: 1900s, Popular
Geiringer, Karl. "Artistic Interrelations of the Bachs." The Musical Quarterly 36 (July 1950): 363-74.
Members of the Bach family copied out each others music and also borrowed musical ideas from one another in their compositions. Several instances of the latter practice are noted. Instances include the similar treatment of a hymn tune and the direct borrowing of musical ideas.
Works: Johann Bernhard Bach: Herr Jesu Christ, dich zu uns wend (366), Suite for Solo Violin and Strings in G Minor (366); Johann Sebastian Bach: Goldberg Variations (366); Carl Philip Emmanuel Bach: Einchöriges Heilig in C Major (369); Johann Sebastian Bach: Organ Concerto in D Minor (370); Johann Christoph Friedmann Bach: Die Kindheit Jesu (372), Wachet auf ruft uns die Stimme (372); Johann Christian Bach: Violin Sonata in B flat, Op. 10, No. 1 (372); Johann Sebastian Bach: Mit fried' und Freud' ich fahr dahin (372). (DCB)
Index classifications: 1700s
Gendron, Bernard. "Jamming at Le Boeuf: Jazz and the Paris Avant-Garde." Discourse 12 (1989-90): 3-27.
Index classifications: 1900s
Gennrich, Friedrich, ed. Lateinische Liedkontrafaktur: Eine Auswahl lateinischer Conductus mit ihren volkssprachigen Vorbildern. Musikwissenschaftliche Studien-Bibliothek, ed. Friedrich Gennrich, no. 11. Darmstadt: n.p., 1956.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Die beiden neuesten Bibliographien altfranzösischer und altprovenzalischer Lieder." Zeitschrift für romanische Philologie 41 (August 1921): 289-346.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Der deutsche Minnesang in seinem Verhältnis zur Troubadour- und Trouvère-kunst." Zeitschrift für deutsche Bildung 2 (1926): 536-66, 622, 632.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Grundsätzliches zur Rhythmik der mittelalterlichen Monodie." Die Musikforschung 7 (1954): 150-76.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Internationale mittelalterliche Melodien." Zeitschrift für Musikwissenschaft 11 (1928-29): 259-96, 321-48.
Just as certain architectural styles are spread over several cultures, we find "international" melodies scattered in manuscripts all over Western Europe. They mostly originated in France and later were adapted musically (variants) and textually (variants and contrafacta) to their new surroundings. Gennrich discusses contrafacta of monophonic liturgical chants (such as the famous sequence Laetabundus exsultet fidelis chorus), of liturgical motets (O Maria, maris stella/Veritatem), sacred motets and conductus (Agmina milicie celestis omnia), and of Latin songs (Bulla fulminante sub judice tonante). Gennrich is not always able to clarify the priority of identical melodies with different text, but provides the music and its sources wherever possible.
Works: Allein Gott in der Höh (German Chorale 265-66); anonymous: Mei amic e mei fiel (267); O Maria, Deu maire, Deus t'es e fils e paire (267); Adam de St. Victor: O Maria, stella maris (267); anonymous: Glorieuse Deu amie, dame de pitié (268-72); Johannes Rodericus: O Maria, maris stella (268-72); anonymous contrafacta: Or hi parra (273-78); O Gras tondeus (274-78); Frölich erklingen (274-78); Gautier de Coinci: Hui enfantez Fuli fiz Dieu (273-78), L'amour dont sui espris (331-40); anonymous contrafacta: Fille de Dieu, ben as obras (280-81); Diable, guaras non tormentes (280-81); Auiatz, seinhors per qual razon (279-81); Philippe le Chancelier: Agmina milicie celestis omnia (281-96), Bulla fulminante (325-30); anonymous: De la virge Katerine chanterai (283-96); L'autr'ier cuidai avoir (283-96); Philippe le Chancelier: Li cuers se vait de l'ueil plaignant (322-24); anonymous contrafacta: Seyner, mil gracias ti rent (322-24); Veste nuptiali (235); Blondel de Nesle: L'amour dont sui espris (331-40); Ma joie me sement de chanter (is a contrafactum of Walter of Châtillon's Ver pacis aperit, or the other way round, 342-43); anonymous: Ar ne kuthe ich sorghe non (346-47). (AG)
Index classifications: Monophony to 1300, Polyphony to 1300
Gennrich, Friedrich. Die Kontrafaktur im Liedschaffen des Mittelalters. Summa Musicae Medii Aevi, ed. Friedrich Gennrich, no. 12. Langen bei Frankfurt: n.p., 1965.
Index classifications: General, Monophony to 1300, Polyphony to 1300
Gennrich, Friedrich. "Lateinische Kontrafakta altfranzösischer Lieder." Zeitschrift für romanische Philologie 50 (1930): 187-207.
Gennrich briefly discusses the relation between some French songs and their Latin contrafacta. While it is often difficult to decide whether the chanson (Kanzonentypus) or the Latin song is the contrafactum, the priority of the French version becomes obvious as soon as formes fixes (rondeaus, virelais) are involved. Some Latin poems did not come down with music. References to French refrains, however, indicate to which melody the poem belongs. These refrains appear with a certain consistency of time and place and thus help dating and localizing related pieces. Gennrich provides the music of the songs discussed and cites their appearances in the manuscripts.
Works: Anonymous: Crescens incredulitas (190); Adam de la Bassée: Olim in armonica (190); anonymous contrafacta: Flos preclusus sub torpore (192-95); Amis, quelx est li mieux vaillanz (192); Povre veillece m'assaut (192-95); Parit preter morem (196-201); Adam de la Bassée: Nobilitas ornata moribus (201); anonymous contrafacta: Veni, sancte spiritus spes omnium (201); Ecce nobilis (202-3); Nicholai sollempnio (203-4); Ille puerulus (205-6); Universorum origo (206). (AG)
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Liedkontrafaktur in mittel- und althochdeutscher Zeit." Zeitschrift für deutsches Altertum und deutsche Literatur 82 (December 1948): 105-41; revised in Der deutsche Minnesang: Aufsätze zu seiner Erfoschung, ed. Hans Fromm, 330-77. Darmstadt: Wissenschaftliche Buchgesellschaft, 1961.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Die Melodie zu Walters von der Vogelweide Spruch: Philippe, künec hêre." Studi medievali 17 (June 1951): 71-85.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Refrain-Studien." Zeitschrift für romanische Philologie 71(1955): 365-90.
Gennrich discusses not those refrains that are repeated after each couplet of a song (chansons à refrain), but those that exist sometimes as isolated very short pieces, sometimes interpolated in other works. They mostly have their own melodies and were created by the poets with a particular intention. Later these refrains were borrowed (with or without music) in chansons avec des refrains, long poems (such as the Cour d'Amour and the Roman de Renart le Nouvel), and motets, usually at the beginning and at the end. Sometimes they even adopt another text (contrafactum). According to Gennrich, refrains are neither folk songs nor parts of them. They were, however, originally conceived as refrains and not designated as such merely because they appear in several pieces. The end of the article includes a list of motet-refrains.
Works: Jacquemart Gielee: Renart le Nouvel (366); Mahius li Poiriers: Cour d'Amour (367); Messire Thibaut: Roman de la Poire (367); Anonymous: Salut d'Amour ((367-68); refrains "Qui aime Dieu et sa mere" (373); "Sache qui m'ot" (373); "Cui donderai je mes Amours, mere Dieu" (373); "Ne vous hastés mie, bele" (373); "Pitiés et Amours, pour mi" (373); "Amours ne se done, mais ele se vent" (374); Si come aloie/Deduisant/Portare (374); Haro! haro! je la voi la/Flos filius eius (377); Je quidai mes maus/In seculum (377); Je m'en vois/Tieus a mout/Omnes (378). (AG)
Index classifications: Monophony to 1300, Polyphony to 1300
Gennrich, Friedrich. "Refrain-Tropen in der Musik des Mittelalters." Studi medievali 16 (1943-50): 242-54.
The motet enté emerged from the trope tradition. First, the motet was a poetic effort, underlaying preexisting clausulae with new text. Often poets took advantage of musical repetitions, supporting them with closely related texts that thus became suitable for quotation, i.e., they acquired refrain character. Later these motets served as models for the newly composed motet enté where refrains (text and melody) were taken as points of departure and textually and musically troped.
Works: Anonymous motets Ja n'amerai autrui que vous/Pro patribus (243-44); J'ai trouvé qui m'amera/Fiat (244-48); Hé! ha! que ferai?/Pro patribus (251-52); Li dous termines m'agrée/Balaam (253-54). (AG)
Index classifications: Polyphony to 1300
Gennrich, Friedrich. "Sieben Melodien zu mittelhochdeutschen Minneliedern." Zeitschrift für Musikwissenschaft 7 (1924-25): 65-98.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Trouvèrelieder und Motettenrepertoire." Zeitschrift für Musikwissenschaft 9 (1926-27): 8-39, 65-85.
Gennrich discusses the reuse of popular songs in motets and of parts of motets as popular songs, providing transcriptions and including the variants. The features of the chanson largely determine the priority (chanson or motet): if the textual and musical structure of the chanson correspond, Gennrich assumes it to antedate the motet. The following list represents the author's view of priority.
Works: Richard de Fournival: Chascun qui de bien amer, borrowed from the motet Chascun qi de bien amer/Et florebit (13-16); motets Onques n'amai tant con je fui amée /Sancte and Onques n'amai tant con je fui amée/Sancte Germane borrow Richard de Fournival's chanson Qnques n'amai tant que jou fui amée (16-20); anonymous: En non Dieu, borrowed from the motet En non Dé, Dex/Ferens pondera (21-23); Ernoul le Viel: Por conforter mon corage, borrowed from the motet Por conforter mon corage/Go (24-29); Robert de Reims: Quant voi le douz tens venir, borrowed from the motets Quant voi le douz tens venir/Latus or En mai quant rose/Quant voi le dou tans venir/Latus (29-33); Robert de Reims: Main s'est levée Aelis, borrowed from the motet Main s'est levée Aelis/[Et tenuerunt] (34-35); Robert de Reims: Quant fueillissent li buison, borrowed from the motet Quant florissent li buisson/Domino (35-37); Jehan Erart: Mes cuers n'est mie a moi, borrowed from the motet Mes cuers n'est mie a moi (38-39, 76); motet Fine Amurs ki les siens tient/J'ai lonc tens Amurs servie/Orendroit plus c'onkes mais borrows the anonymous chanson Orendroit plus qu'onques mais sont li mal d'amer plaisant (67-69); motet Sans penseir folur aç servi tote ma vie/Quant la saisons desireie/Qui bien aime a tart oblie borrows the anonymous chanson Quant la saisons desirée (69-72); motets De mes Amours sui souvent repentis/L'autr'ier m'estuet venue volentés/Dehors Compigne l'autr'ier and Par une matinée/O clemencie fons/Dehors Compigne l'autr'ier borrow the anonymous chanson Dehors Compignes l'autr'ier (72-76); motet Boine Amours mi fait chanter/Uns maus savereus et dous/Portare borrows the anonymous chanson Uns maus savereus et dous. (AG)
Index classifications: Monophony to 1300, Polyphony to 1300
Gennrich, Friedrich. "Zu den altfranzösischen Rotrouenge." Zeitschrift für romanische Philologie 46 (1926): 335-41.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Zu den Liedern des Conon de Béthune." Zeitschrift für romanische Philologie 42 (1922): 231-41.
Index classifications: Monophony to 1300
Gennrich, Friedrich. "Zwei altfranzösische Lais." Studi medievali 15 (1942): 1-68.
Index classifications: Monophony to 1300
Gerasimowa-Piersidskaja, Nina. "Parodija v russko-ukrainskoj muzyke XVIII veka i ee svjazi a intermedijnym teatrom [Parody in Russo-Ukrainian Music of the 18th Century and its Connection with the Theatrical Intermedio]." In Musica antiqua. Acta scientifica, V, ed. Ignacego Paderewskiego, 575-[000]. Bydgoszcz: Filharmonia Pomorska im., 1978.
Index classifications: 1900s
Gerlach, Hannelore. "Die Analyse. Günter Kochan: Mendelssohn-Variationen für Klavier und Orchester." Musik und Gesellschaft 24 (1974): 86-90.
Written for the one-hundred-and-twenty-fifth anniversary of Mendelssohn's death in 1972, Kochan's Mendelssohn-Variationen for Piano and Orchestra constitutes a musical homage on two different levels. It takes as its theme that of Mendelssohn's Variations Serieuses, which itself pays homage to Bach in its use of the B-A-C-H motive. Kochan acknowledges his 'second generation' homage by using a quotation from an aria in Bach's St. Matthew Passion (a work that Mendelssohn championed) as a 'hidden theme' that is developed alongside, and combined with the main theme throughout the course of the piece. (JSL)
Index classifications: 1900s
Gershwin, George. "The Relation of Jazz to American Music." In American Composers on American Music, ed. Henry Cowell, 186-87. Palo Alto, CA: Stanford University Press, 1933; reprint, New York: Frederick Ungar, 1962.
Index classifications: 1900s
Gershwin, George. "Rhapsody in Catfish Row: Mr. Gershwin Tells the Origin and Scheme for His Music in That New Folk Opera Called Porgy and Bess." New York Times 85 (20 October 1935): X-1-2.
Index classifications: 1900s
Gerstenberg, Walter. "Zum Cantus Firmus in Bachs Kantate." In Bachiana et alia musicologica: Festschrift Alfred Dürr zum 65. Geburtstag am 3. März 1983, ed. Wolfgang Rehm, 93-98. Kassel: Bärenreiter, 1983.
Index classifications: 1700s
Ghisi, Frederico. "L'Ordinarium Missae nel XV secolo dei primordi della parodia." In Atti del [I] congresso internazionale di musica sacra / Rome 25-30 May 1950 / Pontificio istituto di musica sacra; commissione di musica sacra per l'Anno santo, ed. Higini Anglès, 308-310, Tournai: Desclée & cie., 1952.
Index classifications: 1400s
Gibbens, John Jeffrey. "Debussy's Impact on Ives: An Assessment." D.M.A. dissertation, University of Illinois at Urbana-Champaign, 1985.
Index classifications: 1900s
Giger, Andreas. "A Bibliography on Musical Borrowing." Notes 50 (March 1994): 871-74.
Index classifications: General
Gilbert, Henry F. "Folk-Music in Art-Music--A Discussion and a Theory." The Musical Quarterly 3 (October 1917): 577-601.
Folk songs most accurately reflect the spirit of a people, and art music is an extension of the spirit of the folk song. Three ways composers use folk songs are: "(1) verbatim, as a musical germ from which to develop a composition; (2) verbatim, but having no particular relation to the musical structure; (3) as suggestion--toward the composition of folk-like themes expressive of the folk spirit."
Works: Haydn: Symphony in D Major (583); Weber: Der Freischütz (584); Schumann: Rheinweinlied (585); Brahms: Academische Festoverture (585); Grieg: Humoreske Op. 6, No. 2 (586), No. 1 of Aus dem Volksleben Op. 19 (586), Ballade Op. 24 (586), Improvisata Op. 29 (586), Norwegian Dances Op. 35 (586); Glinka: Life to the Czar (587); Tchaikovsky: Symphony No. 2 (587), String Quartet Op. 11 (587), Piano Concerto in B flat Minor, Op. 23 (587), Marche Slav (587); Borodin: Prince Igor (588), Steppenskizze (588); Rimsky-Korsakov: Fantasie, Op. 6 (589), La Pskovitaine (589), Antar (589), Sinfonietta, Op. 31 (589), La Grand Paque Russe (589); Stravinsky: Firebird (589), Petrouchka (589); Smetana: Die Brandenburger in Böhmen (589), Das Geheimniss (589), Aus meinem Leben (590), Tábor (590), Aus Böhmens Flur und Hain (590); Dvorak: Slavonic Dances (590), Hussitska Overture (590); Liszt: Hungarian Rhapsodies (590), Mazeppa (590), The Battle of the Huns (590), Hungarian Coronation Mass (590), St. Elizabeth (590); Pedrell: Los Pirineos (591); Bizet: L'arlesienne (592). (BJT)
Index classifications: General, 1700s, 1900s
Gilbert, Kenneth. Preface to Jean-Philippe Rameau: Pièces de clavecin. Paris: Heugel, 1979.
Index classifications: 1700s
Giller, Don. "Communication." Journal of the American Musicological Society 40 (Spring 1987): 143-46.
The L'Homme armé Masses were probably written by Caron, not Busnoys as Richard Taruskin suggests (1984). This conclusion is based upon an accumulation of melodic similarities between Caron's music and the Naples Masses, a criterion that is far more persuasive than the structural relationships Taruskin uses to support his argument. Melodic features are the distinctive signature of a composer, while structural relationships are a form of intellectual exercise, useful only in terms of determining a composer's level of musical education. (EDL)
Index classifications: 1400s
Giller, Don. "The Naples L'Homme Armé Masses and Caron: A Study of Musical Relationships." Current Musicology, no. 32 (1981): 7-28.
Evidence suggests that the six anonymous L'Homme armé masses of Naples, Biblioteca Nazionale, MS VI E 40, were composed by Firminus Caron. Certain head motifs and closing formulae that appear frequently in the Naples masses may be found more often in Caron's work than that of any other composer. Tables and numerous musical examples support Caron as the stylistic origin of these masses. Sources for these features are found in several of Caron's masses and chansons. The masses of the Naples manuscript are of Burgundian origin. Charles the Bold (then Count of Charolais) spent two weeks in Amiens during in 1466, during Firminus Caron's tenure there, giving him the opportunity to become familiar with these masses and subsequently transmit them to Naples.
Works: Anonymous?/Caron?: Six Masses on L'Homme armé (passim); Johannes Ockeghem: D'un aultre la (8): Anonymous: Tart ara quaresme (8).
Sources: Anonymous: Cent mille escus (8); Firminus Caron: Le despourveu (13, 23), Missa Jesus autem transiens (14, 15-17, 20-23), Missa L'Homme armé (17-23). (FC)
Index classifications: 1400s
Gilliam, Bryan. "Strauss's Preliminary Opera Sketches: Thematic Fragments and Symphonic Continuity." 19th-Century Music 9 (Spring 1986): 176-88.
Strauss tended to compose his operas in four stages: (1) musically annotated libretto, (2) sketchbook, (3) piano-vocal score, and (4) orchestral score. Strauss kept a sketch book with him at all times, working and reworking motives into new forms. Some motives can be traced through a series of different works.
Works: R. Strauss: Sinfonia Domestica (181), Der Rosenkavalier (181), Don Quixote (182), Elektra (182). (FT)
Index classifications: 1900s
Gillmor, Alan M. "Musico-poetic Form in Satie's 'Humoristic' Piano Suites (1913-14)." Canadian University Music Review, no. 8 (1987): 1-44.
Stylistic analysis of Satie's music remains underdeveloped, due at least in part to the ineffectiveness of traditional analytical approaches. Any analysis of Satie's music, like that of Debussy or Ives, must take into account the "juxtaposition of multiple layers of aesthetic meaning," including the literary and the pictorial. The piano suites composed in 1913-14 provide a focus for studying Satie's creative ideal and the connection (as in the case of Ives) of that ideal with a particular sonic environment. Satie's use of sounds and tunes from his own world brings meaning to the new piece. Satie's use of existing material not only serves expressive purposes, but also provides a creative stimulus. Appended is a list of "Quoted Tunes in Satie's 'Humoristic' Piano Suites."
Works: Satie: Heures séculaires et instantanées (3), Descriptions automatiques (4), Vieux sequins et vieilles cuirasses (6), Embryons desséchés (17), Croquis et agaceries d'un gros bonhomme en bois (23), Chapitres tournés en tous sens (25), Sports et divertissements (30). (SR)
Index classifications: 1900s
Gimbel, Allen. "Elgar's Prize Song: Quotation and Allusion in the Second Symphony." 19th-Century Music 12 (Spring 1989): 231-40.
The distinction between quotation and allusion has long been problematic. Four conditions must be met for a quotation: (1) The pitch pattern corresponds to a preexisting pattern in the musical literature (rhythm does not have to reflect this correspondence); (2) the composer sets this pattern in relief; (3) it can be documented that the composer was familiar with the work or passage in question; and (4) the extramusical context of the composer's work is reflected by that of the quoted work. These four conditions may be applied to Elgar's Second Symphony, in which Wagner's "Preislied" from Die Meistersinger von Nürnberg is either quoted or alluded to. The correspondence of Wagner and Elgar is literal and thus condition 1 is met. In fulfillment of condition 2, Elgar treats the motive in question extensively and separately from the two other principal ones. It can be documented that the composer was familiar with the work or passage in question, thus condition 3 is met. Finally, a quotation of the "Preislied" in the Second Symphony could have three possible extramusical meanings, as a symbol of artistic freedom, as "an homage to two departed Wagnerians," and as a love letter to Mrs. Stuart-Wortley, "a brilliant and deeply sympathetic woman with a fine understanding of artists." Since all four requirements are met, we have to speak of quotation in Elgar's Second Symphony.
Works: Elgar: Second Symphony (231, 237-40); "Enigma" Variations (232-33).
Sources: Wagner: "Preislied" from Die Meistersinger von Nürnberg (231, 233-40); Mendelssohn: Calm Sea and Prosperous Voyage (232); Beethoven: Symphony No. 9 in D Minor (232-33). (AG)
Index classifications: 1900s
Gingerich, Lora Louise. "Processes of Motivic Transformation in the Keyboard and Chamber Music of Charles E. Ives." Ph.D. dissertation, Yale University, 1983.
Index classifications: 1900s
Gingerich, Lora Louise. "A Technique for Melodic Motivic Analysis in the Music of Charles Ives." Music Theory Spectrum 8 (1986): 75-93.
Index classifications: 1900s
Girdham, Jane. "Stephen Storace and the English Opera Tradition of the Late Eighteenth Century." Ph.D. diss., University of Pennsylvania, 1988.
[See chapter 7, "Borrowed Material."]
Index classifications: 1700s
Girdlestone, Cuthbert. Jean-Philippe Rameau: His Life and Work. 2d rev. ed. New York: Dover Publications, 1969.
Index classifications: 1700s
Girdlestone, Cuthbert. "Rameau's Self-Borrowings." Music and Letters 39 (January 1958): 52-56.
Although there are few examples in Jean-Philippe Rameau's vocal Oeuvre of self-borrowing, there do exist numerous instances of this technique in his operatic symphonies. There are two primary sources for borrowed material: pieces that he had already published for solo harpsichord, with or without other instruments; and symphonies from earlier operas. Borrowing of material for symphonies was especially prominent during revivals of existing operas. Rameau's technique of self-borrowing is fundamentally different from that of Bach and Handel in that the original and new work tend to serve similar functions.
Works: Rameau: Les Fêtes de Ramire (54-55), Les Fêtes d'Hébé (55), Les Indes galantes (55). (AJF)
Index classifications: 1700s
Globenski, Anna-Marie. "An Analytical Study of Selected Piano Works by E. Chabrier." D.M.A. diss., Indiana University,1982.
In a survey of Chabrier's works for piano, features of his style that foreshadow the styles of later French composers are noted. The use of unresolved seventh and ninth chords is a technique later incorporated by Debussy and Ravel. In a more general sense, a number of pieces by Chabrier seem to be linked to pieces by Ravel. These pieces are listed in a table in the concluding section of the dissertation.
Works: Poulenc: Le Bestiaire (85); Maurice Ravel: Jeux d'eau (83), La Valse (15), Menuet antique (46), Valses nobles et sentimentales (15). (NKT)
Index classifications: 1800s
Godt, Irving. "Renaissance Paraphrase Technique: A Descriptive Tool." Music Theory Spectrum 2 (1980): 110-18.
Numerical analysis is a useful tool in determining the relationship between paraphrase and model. This tool is used by numbering the notes of the model. Since the notes of the derived composition use the notes of the model in order, a more detailed map of the relationship between the two is possible. Melodic repetition may be included within structural elongations of pitches. Additionally, the model may undergo transposition. Interpretation of certain passages as transpositions of the model may also help solve certain problems in the application of musica ficta.
Works: Josquin des Prez: Missa Pange lingua (111-17). (FC)
Index classifications: 1400s
Godwin, Joscelyn. "Early Mendelssohn and Late Beethoven." Music and Letters 55 (July 1974): 272-85.
Mendelssohn was the first to incorporate ideas from Beethoven's late works into his own compositions. For example, his Piano Sonata in E major, Piano Fantasia in F sharp Minor, and String Quartet in A Minor (1826-1833) make use of Beethoven's last piano sonatas and string quartets. Yet these pieces of Mendelssohn involve a high degree of novelty. For instance, a recitative in the Piano Sonata in E Major, which resembles the third movement of Beethoven's Piano Sonata Op. 101, is used as a fugue subject. Mendelssohn's borrowing from Beethoven may also be construed as a unique reinterpretation of their less accessible models for the Biedermeier age.
Works: Mendelssohn: Piano Sonata in E Major, Op. 6 (272-77), Fantasie for Piano in F sharp Minor, Op. 28 (272, 277-78), Fantasia for Piano in E Major, Op. 15 (272, 279-80), String Quartet in A Minor, Op. 13 (280-84).
Sources: Beethoven: Piano Sonata in A Major, Op. 101 (272, 275), Piano Sonata in B flat Major, Op. 106 (276-77), Piano Sonata in E Major, Op. 109 (276, 278-79), Piano Sonata in E flat Major, Op. 81a (278), Piano Sonata in D Minor, Op. 31, No. 2 (278), String Quartet in A Minor, Op. 132 (280-84), String Quartet in B flat Major, Op. 130 (282-83). (TB)
Index classifications: 1800s
Gojowy, Detlev. "Zur Frage der Köthener Trauermusik und der Matthäuspassion." Bach-Jahrbuch 51 (1965): 86-134.
Only the text of the Köthener Trauermusik has come down to us, and scholars (including Schering and Smend) have considered whether the Köthener Trauermusik is a parody of the St. Matthew Passion or the other way round. By comparing the texts and examining their application to the music of the arias and accompagnato recitatives of the St. Matthew Passion, it can be shown that the text of the Köthener Trauermusik displays great unity and conviction in terms of choice of words and rhetorical techniques, whereas in the text of the St. Matthew Passion corresponding passages seem forced or illogical and include grammatical inaccuracies, suggesting that it was adapted from the Trauermusik rather than the other way around. The two texts, however, most probably were written within a few weeks, which can be concluded from outside circumstances (p. 108). The fact that in adapting the Köthener Trauermusik to the St. Matthew Passion Bach may have made considerable changes to fit the new text makes tracing parody delicate. Thus a negative procedure is applied: if the musical versions of the St. Matthew Passion (the earlier one as found in the "Altnickol" Ms. and the later definitive version) antedate the Trauermusik, we should not find any passages in the passion that better fit the corresponding text of the Trauermusik. Several such passages may be found, however, especially in the "Altnickol" version. Furthermore, it is clear that Bach tried to collate text and music better in the definitive version of the St. Matthew Passion. All these findings make it possible to reconstruct a succession of numbers in the Köthener Trauermusik that makes sense in all respects.
Works: Bach: St. Matthew Passion. (AG)
Index classifications: 1700s
Goldberg, Clemens. "Militat omnis amans: Zitat und Zitieren in Molinets 'Le debat du viel Gendarme et du viel amoureux' und Ockeghems Chanson 'L'autre d'antan.'" Die Musikforschung 42 (1989): 341-49.
Index classifications: 1400s
Goldberg, Clemens. "Was zitiert Compère?: Topos, Zitat, und Paraphrase in den Regrets-Chanson von Hayne von Ghizeghem und Loyset Compère." In Studien zur Musikgeschichte: Eine Festschrift für Ludwig Finscher, ed. Annegrit Laubenthal with Kara Kusan-Windweh, 88-99. Kassel: Bärenreiter, 1995.
Index classifications: 1400s
Goldberg, Isaac. "What's Jewish in Gershwin's Music." B'nai B'rith Magazine 50 (April 1936): 226-27, 247.
Index classifications: 1900s
Goldschmidt, Harry. "Zitat oder Parodie?" Beiträge zur Musikwissenschaft 12 (1970): 171-98.
Quotation in music is often considered without exploring the context of the quoted material. Many of Beethoven's overtures follow the model of the French overture, which requires one or more quotations from the stage music. Material which is recognizably from another piece but is altered in some way is placed in the category of "adaptation," which is defined as the removal of a piece of music from its original context and conforming it to a new environment and function. This may require a new context (transcription); transposition and new instrumentation (such as placing material from a piano sonata into a chamber music piece); or new words, this last condition being termed "parody." Parody is discussed extensively with the relationships between the Joseph cantata, Leonore, and Fidelio, and between the Choral Fantasy and the Ninth Symphony. A more exhaustive investigation is necessary to determine the true extent of Beethoven's creative methods in terms of quotation, adaptation, and parody.
Works: Beethoven: Overture to Zur Weihe des Hauses, Op. 124 (172-74), Overture to Die Ruinen von Athen, Op. 113 (172-73, 175, 183-84), Overture to König Stephan, Op. 117 (172-73), Overture and drafts to Leonore (171, 187-89), Fidelio (171-72, 187-89), Overture to Egmont, Op. 84 (174), Overture to Die Geschöpfe des Prometheus, Op. 43 (171, 174-75), Piano Sonata in F Minor, Op. 2, No. 1 (175), Piano Sonata in C Major, Op. 2, No. 3 (175), Septet in E-flat Major, Op. 20 (175), Piano Variations, Op. 35 (176), String Quartet in C Minor, Op. 18, No. 4 (177-78), String Quartet in F Major, Op. 18, No. 1 (178), Missa solemnis (179-80), Grosse Fuge, Op. 133 (181), String Quartet in F Major, Op. 59, No. 1 (182), Sring Quartet in E Minor, Op. 59, No. 2 (182), Diabelli Variations (182-83), Blümchen der Einsamkeit, Op. 52, No. 4 "Maigesang") (184, 186), Chorfantasie, Op. 80 (189-95), Symphony No. 9 in D Minor, Op. 125 (172, 194-95), Lied aus der Ferne, WoO 137 (186), Symphony No. 8 in F Major, Op. 93 (176). (NS)
Index classifications: 1800s
Göllner, Theodor. "Landini's Questa fanciulla bei Oswald von Wolkenstein." Die Musikforschung 17 (October/December 1964): 393-98.
In the middle third of the fifteenth century, contrafacta of Italian, French, and Netherlandish works frequently appear in Germany. Two more contrafacta in the Lieder of Oswald von Wolkenstein can now be added to the six already known. Both poems, Mein herz das ist versert (No. 101 in the Wolkenstein Edition) and Weiss, rot, mit praun verleucht (No. 111) are set to a work from the Italian Trecento, Landini's ballata Questa fanciulla. Although No. 101 is not a literal translation of the Italian text, the two poems show similarities in content. Wolkenstein is also influenced by the verse form (the "endecasillabo") of his Italian model. He preserves only the bipartite structure of the ballata, while the overall form is removed from its refrain model. Finally, in both Wolkenstein manuscripts only the tenor has a text, a purely German feature characteristic of the "Tenorlied." Thus Landini's ballata, in which the tenor had a supporting function, was transformed in Germany into a song for tenor and an upper-voice accompaniment. (MP)
Index classifications: 1400s
Gombosi, Otto. "Bemerkungen zur L'homme armé-Frage." Zeitschrift für Musikwissenschaft 10 (1927-28): 609-12.
Index classifications: 1400s
Gombosi, Otto. "Bemerkungen zur L'homme armé-Frage." Zeitschrift für Musikwissenschaft 12 (1929-30): 378.
Index classifications: 1400s
Gombosi, Otto. Jacob Obrecht: Eine stilkritische Studie. Leipzig: Breitkopf & Härtel, 1925.
[Has an extensive discussion of some of the major families of art-song reworkings, De tous biens plaine, Fors seulement, Fortuna desperata, and J'ay pris amours.]
Index classifications: 1400s
Gombosi, Otto. "Stephen Foster and 'Gregory Walker.'" The Musical Quarterly 30 (April 1944): 133-46.
That Stephen Foster's style was indebted to folksong is unquestioned. However, the source of folksong is not the Negro spiritual as has been assumed, but the folk tunes of England. This is proved by an analysis of structural harmonies. The pattern I-IV-I-V I-IV-I-V-I found in about thirty percent of Foster's songs resembles the seventeenth-century ground Passamezzo Moderno. Thus, Foster's folksongs demonstrate a strong connection to this popular bass pattern rather than to American folk sources.
Works: Foster: The Voice of Bygone Days (136), The Little Ballad Girl (138), Cora Dean (139). (EH)
Index classifications: 1800s
Gooding, David. "A Study of the Quotation Process in the Songs for Voice and Piano of Charles Edward Ives." M.A. thesis, Western Reserve University, 1963.
Index classifications: 1800s, 1900s
Goodwin, Andrew. "Sample and Hold: Pop Music in the Digital Age of Reproduction." In On Record: Rock, Pop, and the Written Word, ed. Simon Frith and Andrew Goodwin, 258-273. New York: Pantheon Books, 1990.
Sampling techniques in popular music give credence to Walter Benjamin's theory of the "age of reproduction." Recent trends in popular music have seen the resurrection of older popular music through two means: new digital reproductions of otherwise unavailable records; and the integration of samples from older music into new music. There are so many references in today's pop music that we now have references to references of original sources. Authorship and authenticity are problematized in the process. Some popular artists claim that samples and references preserve a popular music archive, but by reproducing these sounds digitally, the human element of original production is lost. (FMM)
Index classifications: 1900s, Popular
Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press, 1987.
Musical borrowing is discussed within the context of a theoretical discourse on film music, particularly in part I (chapters 1-5). Early and contemporary film music has drawn on several 19th-century genres, including English musical theater (for melodrama) and Wagnerian opera (for leitmotif). Two different yet complementary theories can be used to consider the affective roles of music in film: the semiotic concept of ancrage, in which music anchors the instability of visual signification, and the psychoanalytic theory of suture, which explains the ability of film music to create subjectivity in spectators. The late-19th-century musical aesthetic in the film scores of Max Steiner proves particularly significant in the effect his scores have had on subsequent film composers. (DBO)
Index classifications: 1900s, Film
Gossett, Philip. "The Operas of Rossini: Problems of Textual Criticism in Nineteenth-Century Opera." Ph.D. diss., Princeton University, 1970.
There is rarely a single best version for Rossini's operas, since in the first half of the nineteenth century, Italian opera was treated as a collection of individual units which could be rearranged, substituted, or omitted depending on varying local conditions. This dissertation examines all the authentic versions of fourteen operas by Rossini in printed or manuscript sources in order to establish the correct texts for the works. An authentic version is defined as one with which Rossini can be shown to have been directly connected in the capacity of composer, director, or arranger, or one that he personally approved for inclusion in his operas but was composed by somebody else. Although not dealing primarily with borrowing, this dissertation examines Rossini's reuses of his own music in great detail, since he frequently made use of this practice in his operas or in later versions or revivals of the same work. Rossini's self-borrowings are viewed as an important characteristic of his compositional style and as a result of his time and milieu.
Works: Rossini: L'inganno felice (166-172, 190), Tancredi (198-200), L'italiana in Algeri (247), Il barbiere di Siviglia (276-79, 293), Otello (313-14), La Cenerentola (338-39), La gazza ladra (358), Armida (381), Mosè in Egitto, Moïse (307, 434), Maometto (456), Semiramide (490), Le Comte Ory (508), Guillaume Tell (524). (LFL)
Index classifications: 1800s
Gossett, Philip. "The Overtures of Rossini." 19th-Century Music 3 (July 1979): 3-31.
The archetype of Rossini's overture is defined in order to test attributions of dubious pedigree from his first period of compositional practice (1808-1813). Rossini's self-borrowings in his overtures are examined indirectly but in great detail since they are a very prominent characteristic of his compositional style and can help to solve matters of authorship. An alternate overture to La scala di seta is shown not to be by Rossini on the basis of its borrowing technique. This overture quotes in full two melodies that will appear in later operas by Rossini and Gossett shows that Rossini never uses melodies from an earlier overture in the body of a future opera unless he intends to preface the latter with the same overture. A table with comments about Rossini's self-borrowings is shown on page 15.
Works: Rossini: Zelmira (3), Otello (7, 8), Il Turco in Italia (8), Sigismondo (8), Elisabetta, regina d'Inghilterra (8), Matilde di Sahbran (8), Il barbiere di Siviglia (12, 18), La cambiale di matrimonio (14, 15, 24), L'inganno felice (14), Ciro in Babilonia (14), Il signor Bruschino (15, 24, 25), Adelaide di Borgogna (15), Tancredi (15), Aureliano in Palmira (18), alternative overture to La scala di Seta (22), Bianca e Falliero (22), Le siège de Corinthe (30), L'equivoco stravagante (30, 31). (LFL)
Index classifications: 1800s
Gossett, Philip. "Techniques of Unification in Early Cyclic Masses and Mass Pairs." Journal of the American Musicological Society 19 (Summer 1966): 205-31.
Techniques of unification in early fifteenth century cyclic masses and mass pairs run far deeper than simply the use of a common motto or tenor. Other musical relationships such as clef combinations, signatures, finalis, number of voices, and mensurations also provided unity. Examples from the MS Bologna, Museo Civico, Bibliografia musicale, Q15, olim Liceo Musiciale 37 (BL) show several techniques of unification. Two Gloria-Credo pairs and one mass cycle by Johannes de Lymburgia show strong use of motto technique. A Gloria-Credo pair by Hugo de Lantins is related by the working out of tenor repetitions more than by motto pairing. An anonymous Gloria-Credo pair (BL 105-107) features what might be called an extended motto technique, in which borrowed canonic material is developed differently between the two movements.
Works: Johannes de Lymburgia: two Gloria-Credo pairs (BL 121-24 and 165b-167) (210-13), Mass fragment (BL 193-96) 213-15), Mass (BL 161-65) (215-18); Hugo de Lantins: Gloria-Credo pair (BL 86-87) (218-222); Anonymous: Gloria-Credo pair (BL 105-107) (222-31). (FC)
Index classifications: 1400s
Gottlieb, Jack. "Symbols of Faith in the Music of Leonard Bernstein." The Musical Quarterly 66 (April 1980): 287-95.
Bernstein has been concerned with theological meaning in his symphonic works. The acceptance of faith in God is consistently associated with a specific motive (a descending fourth followed by the further descent of a whole- or half-step). This motive invariably appears in the closing and/or opening moments of a work. It appears in Symphony No. 1 (Jeremiah), Symphony No. 2 (The Age of Anxiety), the "Spring Song" from The Lark, Symphony No. 3 (Kaddish), Chichester Psalms, Mass, and Dybbuk. The use of this particular motive may be related to Bernstein's youth since it is common in the liturgy of the High Holy Day music and is also present (as a final cadence) in the Three Festivals of Sukkoth, Passover, and Shavuot. The motive then, "could seep into and take hold of the impressionable mind of a growing musician." It is probably an unconscious association on the part of Bernstein. (DCB)
Index classifications: 1900s
Gottlieb, Louis. "The Cyclic Masses of Trent 89." Ph.D. dissertation, University of California, Berkeley, 1958.
Index classifications: 1400s
Grant, Barry. "Purple Passages or Fiestas in Blue? Notes Toward an Aesthetic of Vocalese." In Representing Jazz, ed. Krin Gabbard, 285-303. Durham: Duke University Press, 1995.
Vocalese, as referred to in jazz, is the name for a vocal composition created by setting newly composed lyrics to music taken from existing recordings of jazz instrumental music, including the improvised solos. The resulting compositions often require a high degree of vocal virtuosity because the singer is performing music that is not idiomatic for the voice. This practice, which began in the early 1950s and remains popular today, has been unjustly marginalized by most jazz critics, mainly because it does not involve improvisation. Some examples of vocalese are Eddie Jefferson's 1952 Moody's Mood for Love, based on James Moody's I'm in the Mood for Love, Jefferson's version of Charlie Parker's Now's the Time, Jefferson's version of Dizzy Gillespie's Night in Tunisia, and John Hendrick's version of Gillespie's Night in Tunisia.
Works: Jefferson: Moody's Mood for Love (292-94).
Sources: Moody: I'm In the Mood for Love (292-94); Parker: Now's the Time (291); Gillespie: Night in Tunisia (292-93). (STG)
Index classifications: Jazz
Grant, Parks. "Bruckner and Mahler--The Fundamental Dissimilarity of Their Styles." The Music Review 32 (February 1971): 36-55.
Grant argues that Bruckner and Mahler are dissimilar in many respects, which he enumerates, and suggests that the linking of Mahler with Richard Strauss might be more meaningful. Their influence was reciprocal. Part of the last song in Lieder eines fahrenden Gesellen may be seen as the ancestor of the final duet in Der Rosenkavalier, and the off-stage fanfares in the outer movements of Mahler's First Symphony may have suggested the off-stage fanfares in Ein Heldenleben. Strauss also influenced Mahler, with apparent connections between Ein Heldenleben and the last movement of Mahler's Eighth Symphony; the neuroticism of Salome and parts of Das Lied von der Erde and the Ninth Symphony; and "wandering" solo violin passages in Strauss's Don Juan and Ein Heldenleben and similar solo violin passages in Mahler's Eighth Symphony.
Index classifications: 1800s, 1900s
Gratovich, Eugene. "The Sonatas for Violin and Piano by Charles Ives: A Critical Commentary and Concordance of the Printed Editions and the Autographs and Manuscripts of the Yale Ives Collection." D.M.A. diss., Boston University School of Fine and Applied Arts, 1968.
Index classifications: 1900s
Grave, Floyd K. "Abbé Vogler's revision of Pergolesi's Stabat Mater." Journal of the American Musicological Society 30 (Spring 1977): 43-71.
Index classifications: 1700s
Green, Douglass M. "Cantus Firmus Techniques in the Concertos and Operas of Alban Berg." In Alban Berg Symposion Wien 1980: Tagungsbericht; Redaktion: Rudolf Klein, ed. Franz Grasberger and Rudolf Stephan, 56-68. Vienna: Universal Edition, 1981.
Schoenberg and his circle were quite opposed to a return to past forms to compensate for the problems of composing in a new harmonic language. Yet, at least some of them desired a return back to some compositional techniques of the past; for example, Webern wished to return to a polyphonic manner of thinking. Berg is no exception, and he demonstrates this in Wozzeck, the Kammerkonzert, Lulu, and the Violin Concerto. In each of these compositions, Berg employs cantus firmus technique, specifically chorale variations. The primary motivator in the treatment of the cantus firmus stems from his desire to produce dramatic action, even in the non-operatic works, and to provide meaning for the texts uttered by the characters in his operatic compositions. Berg's treatment of the chorale variations includes fugato, diminution, canon, and other various types of counterpoint. Furthermore, in the passages examined here, Berg creates the accompanying voices from the cantus firmus, allowing for greater unity in a contrapuntal context.
Works: Berg: Wozzeck (57-58), Kammerkonzert (58-59), Lulu (59-62), Violin Concerto (62-65).
Sources: Bach: Es ist genug (63). (CMH)
Index classifications: 1900s
Greenwald, Helen M. "Verdi's Patriarch and Puccini's Matriarch: Through the Looking-Glass and What Puccini Found There." 19th-Century Music 17 (Spring 1994): 220-36.
Puccini's musical borrowing from Verdi can be best understood through an analogy to the "mirror image" from Lewis Carroll's Through the Looking-Glass and What Alice Found There. The mirror image of Verdi's Don Carlos (1867, 1884) appears in Puccini's one-act opera Suor Angelica (1918), on the levels of characterization, declamation, timbre, tonality, and dramatic syntax. A comparison between the scenes of La Zia Principessa and Angelica in Suor Angelica and Philip and the Grand Inquisitor in Don Carlos illuminates Puccini's imitation, modeling, and recomposition techniques. Puccini's female-dominant characterization contrasts to Verdi's more "masculine" cast. Puccini used Verdi as a model for the dramatic relationship between the characters, atmosphere, action, particular arrangement of scenery, monologue, dark vocal sonorities, and tonal development. The greatest similarities are in the middle sections of the two scenes when the characters explore their most intimate desires both musically and dramatically. Puccini's scene can be seen as a reincarnation and a contrafactum of Verdi's. Like his contemporaries Schoenberg, Stravinsky, and Bartók, Puccini struggled with ways to "remake the past" as he experienced conflict with his own musical lineage.
Works: Puccini: Suor Angelica.
Sources: Verdi: Don Carlos. (TC)
Index classifications: 1900s
Gregory, Robin. "Dies Irae." Music and Letters 34 (April 1953): 113-19.
Background information on the Dies Irae sequence notes no records of the melody's origins and attributes the text to Thomas of Celano. Composers have used the chant in two ways: (1) as an integral part of their settings of the Requiem Mass in its proper context; (2) in secular works, often in a debased form to help create the appropriate diabolical or supernatural atmosphere. Berlioz's Symphonie Fantastique was the first in a Romantic trend of using this theme associated with death and the last judgment in its most terrible aspects. The character of the melody's significance has changed significantly from its original connotation. Composers of the Romantic era used the melody for its associations with terror and dread, while ignoring the message of hope that is also explicit in the words. Some manifestations of the Dies Irae melody served as models for other composers to follow. One example is Liszt's Dante Symphony, which influenced Mussorgsky's Songs and Dances of Death and Tchaikovsky's Francesca da Rimini. In the twentieth century, the tradition was kept alive by Sergei Rachmaninaov, who used the Dies Irae to represent evil spirits in the Rhapsody on a Theme by Paganini.
Works: Berlioz: Requiem (135), Symphonie Fantastique (135-36); Alfred Bruneau: Requiem (135); Liszt: Totentanz (136, 137); Mussorgsky: Songs and Dances of Death (136); Saint-Saëns: Danse Macabre (137); Tchaikovsky: Francesca da Rimini (137), In Dark Hell (137), Suite in G Major (137); Rachmaninoff: Tone Poem, Op. 29 (138), Symphonic Dances, Op. 45 (138), Symphony No. 3 (138), Rhapsody on a Theme by Paganini (138); Vaughan Williams: Tudor Portraits (138). (JP/REG)
Index classifications: 1800s, 1900s
Griffioen, Ruth Van Baak. Jacob van Eyck's "Der Fluyten Lust-hof" (1644-c1655). Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1991.
Index classifications: 1600s
Griffiths, Paul. "Quotation-->Integration." In Modern Music: The Avant-Garde Since 1945, 188-222. New York: George Braziller, 1981.
The move from quotation to integration can be summarized under four headings: (1) Out of the Past, (2) Out of the East, (3) Collage, and (4) Integration. The music of the eighteenth and nineteenth centuries was too close to composers' own time to be approached without an ironic detachment, so the much more distant past can be used without being labeled conservative. Plainsong melodies and twentieth-century techniques of variation are used by Peter Maxwell Davies to create un-fifteenth-century sounding melodies. For example, his opera Taverner uses the sequence Victimae paschali laudes, which is parodied and used as a symbol of the Resurrection. Davies uses plainsong to question his own music and methods and those of his contemporaries, in an attempt to convince himself of his work's genuineness. The East has exerted a marked influence on composers since 1950, including Messiaen, Cage, Reich, and LaMonte Young. The percussion-based ensembles in works by Boulez and Stockhausen have exotic Eastern resonances, but this influence has been seen less in works by Eastern composers themselves. Takemitsu, for example, seems to be more inspired by Debussy, Boulez, and Feldman than any particular Eastern orientation. Collages have been composed in order to test the present against the past, and vice versa, and to improve audience contact by providing a familiar subject. Cage's works of the 1960s, such as Williams Mix, Fontana Mix, Variations IV, and HPSCHD, were attempts to bring together real-world sounds and composed music (both live and on tape), often including much multi-media apparatus. Bernd Alois Zimmermann, however, often brings together musical worlds with the intent of setting the quoted material in relief, in direct contrast to the methods of Cage, whether it comes from Bach, Prokofiev, or Berg. Integration is similar in style to collage, but the two differ greatly in intent. In integration, the original material is suppressed in order to serve the new work, as is the case in the third movement of Berio's Sinfonia. The assembly of so many quotations is accomplished so well that the work may well be considered a new creation. Again unlike Cage, the work is an organized picture of disorder, rather than disorder itself. Stockhausen's Hymnen is also an integration, this time of national anthems. Recordings of various anthems are intermodulated within each other, setting up juxtapositions of the anthems. Hymnen sets up a stream of electronic sound around, between, and through the presentation of the anthems, seemingly drifting from one region to another.
Works: Messiaen: Couleurs de la cité céleste (190-91), La Transfiguration de Notre Seigneur Jésus-Christ (191, 196); Peter Maxwell Davies: Taverner (190, 192), Alma redemptoris mater (191), String Quartet (191), Blind Man's Buff (192), St. Thomas Wake (192), First Fantasia on an In nomine of John Taverner (192), Second Fantasia on an In nomine of John Taverner (192-93), Worldes Blis (192-93), Ave maris stella (193), Prolation (193), St. Michael Sonata (193), Symphony (193), A Mirror of Whitening Light (193-5); Jean-Claude Eloy: Equivalences (197), Faisceaux-diffractions (197), Kamakala (197), Shanti (197); Henze: L'autunno (197); Tristan (197); Stockhausen: Telemusik (199-200, 206-7, 210, 213); Cage: Credo in Us (200), Variations V (200-201), Fontana Mix (200), Theatre Piece (201), Variations IV (201); Cage and Lejaren Hiller: HPSCHD (201); Eric Salzman: The Nude Paper Sermon (201); Crumb: Ancient Voices of Children (202), Night of the Four Moons (202); Bernd Alois Zimmermann: Die Soldaten (202), Antiphonen (202), Nobody knows the trouble I see (202), Présence (202), Musique pour les soupers du Roi Ubu (202-3), Photopsis (203), Monologe (203-5); Michael Tippett: Symphony No. 3 (203); Shostakovich: Symphony No. 15 in A Major (203); Mauricio Kagel: Ludwig van (203), Variationen ohne Fuge (203-8); Stockhausen: Kurzwellen (206), Opus 1970 (206-7); André Boucourechliev: Ombres (206, 220); Berio: Sinfonia (207-9, 219-20); Stockhausen: Hymnen (210-13); Henri Pousseur: Echos de Votre Faust (213), Jeu de miroirs de Votre Faust (213), Votre Faust (213), Miroir de Votre Faust (213-14), Couleurs croisées (214), Les ephemeredes d'Icare (214), Mnemosyne II (214), Racine (214), Répons (214), Invitation à l'utopie (214), Icare apprenti (214), Die Eprobrung des Petrus Hébraïcus (214-15), Stravinsky au future (215), L'effacement du Prince Igor (215, 217); Peter Schat: Canto general (216, 218), To you (216); George Rochberg: Blake Songs (219), Contra mortem et tempus (219), Music for the Magic Theater (219), String Quartet No. 1 (219), String Quartet No. 2 (219), String Quartet No. 3 (219), Symphony No. 2 (219), Symphony No. 3 (219), Violin Concerto (219).
Sources: Machaut: Messe de Notre Dame (189); Plainchant: Victimae paschali laudes (190); Monteverdi: Vespers (191); Plainchant: Dies irae (193); Berg: Wozzeck (202); Beethoven: Symphony No. 9 in D Minor (203); Mahler: Symphony No. 2 in C Minor (208), Symphony No. 4 in G Major (208); Henri Pousseur: Votre Faust (213); Stravinsky: Agon (215-16); Webern: Variations, Op. 27 (216). (MEG)
Index classifications: 1900s
Grubbs, John Whitfield. "Ein Passions-Pasticcio des 18. Jahrhunderts." Translated by Alfred Dürr. Bach-Jahrbuch 51 (1965): 10-42.
Index classifications: 1700s
Gruber, Germont. "Magnificat Kompositionen in Parodietechnik aus dem Umkreis der Hofkapellen der Herzöge Karl II. und Ferdinand von Innerösterreich." Kirchenmusikalisches Jahrbuch 51 (1967): 33-60.
Index classifications: 1500s
Gruber, Germont. "Das musikalische Zitat als historisches und systematisches Problem." Musicologica Austriaca 1 (1977): 121-35.
Index classifications: General
Gruhn, Wilfried. "Integrale Komposition: Zu Bernd Alois Zimmermanns Pluralismus-Begriff." Archiv für Musikwissenschaft 40 (November 1983): 287-302.
Index classifications: 1900s
Gruhn, Wilfried. "Lukas Foss Phorion. Die Obsession einer Melodie von Johann Sebastian Bach in den Baroque Variations. Analytische Betrachtungen und Materialien zur didaktischen Interpretation und Unterrichtsplanung." Musik und Bildung 13 (March 1981): 140-53.
Index classifications: 1900s
Gruhn, Wilfried. "Zitat und Reihe in Schönbergs Ein Überlebender aus Warschau." Zeitschrift für Musiktheorie 5 (1974): 29-33.
Index classifications: 1900s
Gudewill, Kurt. "Drei lateinisch-deutsche Liedbearbeitungen von Caspar Othmayr: Bemerkungen zu Texten, Satzstruktur und Harmonik." In Festschrift Martin Ruhnke zum 65. Geburtstag, 126-43. Neuhausen: Hanssler, 1986.
Index classifications: 1500s
Gudewill, Kurt. "Ursprünge und nationale Aspekte des Quodlibets." In Report of the Eighth Congress of the International Musicological Society, 30-43. Kassel, 1961.
Index classifications: General, 1400s, 1500s, 1600s, 1700s
Gudger, William D. "Handel's Last Compositions and His Borrowings from Haberman." Current Musicology, no. 22 (1976): 67-72, and no. 23 (1976): 28-45.
Index classifications: 1700s
Gudger, William Don. "A Borrowing from Kerll in Messiah." The Musical Times 118 (December 1977): 1038-39.
During his studies with Zachow, Handel is known to have copied works by the Viennese organist and composer Johann Caspar Kerll. Handel's sketches for Messiah reveal that the double counterpoint at the opening of the fugue "Let all the angels of God" was derived from a canzona by Kerll (no. 14 of the modern edition). Considering this borrowing along with the self-borrowings from the Italian duets that have already been identified in Messiah may shed light on how Handel was able to compose the work so quickly. (MSS)
Index classifications: 1700s
Gudmundson, Harry Edwin. "Parody and Symbolism in Three Battle Masses of the Sixteenth Century." Ph.D. diss., University of Michigan, 1976.
Three battle Masses, Janequin's Missa La Bataille, Guerrero's Missa De la batalla escoutez, and Victoria's Missa pro Victoria, are based on Janequin's chanson La Bataille escoutez or La Guerre, and motives from or references to the model are shown to appear throughout the movements of all three. Transcriptions of the Masses by Janequin and Guerrero appear in the appendix.
Works: Janequin: Missa La Bataille (48-131, 251-94); Guerrero: Missa De la batalla escoutez (132-96, 295-348); Victoria: Missa pro Victoria (197-241). (AC)
Index classifications: 1500s
Gülke, Peter. "Klassik als Erbe und Anspruch: Fragen zum 'plagiierenden' Schubert." In Über das Klassische, ed. Rudolf Bockholdt, 299-309. Frankfurt am Main: Suhrkamp, 1987.
Index classifications: 1800s
Gülke, Peter. "Das Volkslied in der burgundischen Polyphonie des 15. Jahrhunderts." In Festschrift Heinrich Besseler zum sechzigsten Geburtstag, ed. Institut für Musikwissenschaft der Karl-Marx-Universität, 179-202. Leipzig: VEB Deutscher Verlag für Musik, 1961.
Index classifications: 1400s
Günther, Ursula. "Zitate in Französischen Liedsätzen der Ars Nova und Ars Subtilior." Musica Disciplina 26 (1972): 53-68.
In the fourteenth century, composers of the isorhythmic motet often borrowed the text of a preexisting composition's refrain and stated it at the beginning and/or end of a new composition. These pieces, called motet entées, often alluded to the musical structure and melody of the model as well. Composers sometimes used these quotations as a means of paying homage to another musician. (The most notable of these motets, Ciconia's Sus un fontayne, quotes three ballads by De Caserta.) By the end of the fourteenth century, the art of quotation died out in France, both in the literary and musical realms.
Works: Anon.: Ma dame m'a congié douné, Dame qui fust si tres bien assenée (55, 61), Je la remirey, la belle greift (60), Pour vous revëoir (61); Andrieus: Armes, amours, dames, chevalerie (58); Anthonello: Dame d'onour (59); Bossu: Jeu du Pélerin (53); Ciconia: Aler m'en veus en strange paartie (62, 66); Sus un fontayne (62-6, 68), Le ray au soleil (65, 67), Quod jacatur (67); Deschamps: Qui saroit bien que c'est d'Amour servir (58); Devise: A bon droyt (65); De Vitry: En Albion de fluns environnée (56); Dufay: La belle se siet (68). Franciscus: Phiton, Phiton, beste tres venimeuse (56); Froissart: Ne quier veoir Medée ne Jason, Je puis moult bien ma dame comparer (57), Tresor amoureux, En servant armes et amours (58); Machaut: On ne porroit pen ser ne souhaidier, Jugement dou Roy de Navare, Tant com je vivray, sans meffaire (54); Taillandier: Se Dedalus an sa gaye mestrie (56-7); Trebor: En seumeillant (58). Sources: Andrieus: Armes, amours, dames, chevalerie (58); De Caserta: En remirant (62), En atendant (62,64-6), De ma dolour (62, 65); De la Halle: Tant com je vivray (54); De la Mote: Dyodonas (56); Froissart: D'armes, d'amours et de moralité (58); Machaut: Li Regret Guillaume, Comte de Hainaut (54), Se je me planig, je n'en puis mais (55), De fortune me doy plaindre et loer, Phyton, le mervilleus serpent (56), Ne quier vëoir, Je puis trop bien ma dame comparer (57), Prisonnés, Je la remirey sans mesure (60), Soit tart, tempre, main et soir (61), Puis qu'en oubli sui de vous (62); Vaillants: Par maintes foys (59). (DG)
Index classifications: 1300s
Gutman, Hanns. "Der banale Mahler." Musikblätter des Anbruch 12 (March 1930): 102-5.
Index classifications: 1900s
Guttman, Veronika. Die Improvisation auf der Viola da gamba in England im 17. Jahrhundert und ihre Wurzeln im 16. Jahrhundert. Wiener Veroffentlichungen zur Musikwissenschaft, vol. 19. Tutzing: Hans Schneider, 1979.
Index classifications: 1600s
Haar, James. "The Fantasie et recerchari of Giuliano Tiburtino." The Musical Quarterly 59 (April 1973): 223-38.
Index classifications: 1500s
Haar, James. "Pace non trovo: A Study in Literary and Musical Parody." Musica Disciplina 20 (1966): 95-149.
A four-voice madrigal found in the Fourth Book of Arcadelt's madrigals titled Pace non trovo e non ho da far guerra, setting the Petrarchan sonnet by that name, has material in common with two other works. The madrigal, anonymous in Arcadelt's collection, is ascribed to Ivo, probably Ivo Barry, a French musician in the papal choir under Clement VII and Paul III. A madrigal for three voices by Ihan Gero proves to be a modified version of the other. The techniques used to arrive at Gero's madrigal from Ivo's piece are similar to those used by Gero in other parodies, so Ivo's madrigal was probably written first. A third work, a cycle of madrigals by Palestrina titled Canzon di Gianneto sopra di Pace non trovo con quatordici stanze, consists of fourteen pieces all using material from Ivo's madrigal. Palestrina's text is itself a parody, fourteen ottava rima stanzas each ending with a line of the Petrarchan sonnet. The music for these lines consists of a parody of the original setting by Ivo.
Works: Ivo Barry: Pace non trovo e non ho da far guerra (madrigal); Ben mio chi mi ti toglie (madrigal) (116); Ihan Gero: Pace non trovo e non ho da far guerra; Palestrina: Canzon di Gianneto sopra di Pace non trovo con quatordici stanze (madrigal cycle). (NKT)
Index classifications: 1500s
Haar, James. "Towards a Chronology of the Madrigals of Arcadelt." Journal of Musicology 5 (Winter 1987): 28-54.
Index classifications: 1500s
Haar, James. "Zarlino's Definition of Fugue and Imitation." Journal of the American Musicological Society 24 (Summer 1971): 226-254.
Index classifications: 1500s
Haar, James. "Palestrina as Historicist: The Two L'homme armé Masses." Journal of the Royal Music Association 121, no. 2 (1996): 191-205.
Although Palestrina wrote his two L'homme armé masses nearly a century after the majority of masses in this tradition were written, it is clear that he was consciously looking to this tradition for guidance in his own compositions, perhaps as an act of emulation. The influence of the L'homme armé masses of Josquin and Morales is evident, and evidence confirms that Palestrina would have been familiar with these works. Palestrina further followed earlier traditions in his choice of mode, prolation, and notation. It has been suggested that Palestrina chose to use the L'homme armé melody to prove he could equal Josquin's earlier achievements, although this is likely not the sole reason. In acknowledging the practices of the past, it is possible that Palestrina was trying to create a place for himself not only within the L'homme armé tradition, but within the revered traditions associated with composition and the Capella Sistina.
Works: Palestrina: Missa L'homme armé [1570], Missa L'homme armé [1582].
Sources: Josquin: Missa L'homme armé sexti toni (192), Missa L'homme armé super voces musicales (192, 197); Morales: Missa L'homme armé [1540] (192-94), Missa L'homme armé [1544] (192-94); De Orto: Missa L'homme armé (199-200). (SW)
Index classifications: 1500s
Haas, Robert. Anton Bruckner. Grosse Meister der Musik, ed. Ernst Bücken. Leipzig: C. G. Röder, 1934.
Although a general biography, Haas covers specific borrowing on pages 113-57 of his study, where he deals with Bruckner's symphonic music. Haas, as the first editor of Bruckner's collected works, has drawn together a sketch study with biographical material to give an insightful look into developments of particular borrowings that Bruckner used. (BJT)
Index classifications: 1800s
Haass, Walter. Studien zu den "L'homme armé"-Messen des 15. und 16. Jahrhunderts. Kölner Beiträge zur Musikforschung, 136. Regensburg: Gustav Bosse Verlag, 1984.
Index classifications: 1400s, 1500s
Haberl, Ferdinand. "Anmerkungen zur Parodie." In Divini cultus splendori, Festschrift Joseph Lennards zum 80. Geburtstag. Rome: CIMS, 1980.
Index classifications: General
Hadow, W. H. A Croatian Composer: Notes Towards the Study of Haydn. London, 1897.
[Cited in Schroeder 1982.]
Index classifications: 1700s
Häfner, Klaus. Aspekte des Parodieverfahrens bei Johann Sebastian Bach: Beiträge zur Wiederentdeckung verschollener Vokalwerke. Laaber: Laaber-Verlag, 1987.
Index classifications: 1700s
Hager, Nancy. "The First Movements of Mozart's Sonata, K. 457 and Beethoven's Opus 10, No. 1: A C Minor Connection?" The Music Review 47 (May 1986/87): 89-100.
Distinctive similarities suggest that the first movement of Mozart's Piano Sonata, K.457 was an inspiration for Beethoven's Opus 10, No. 1. Although no documentation proves Beethoven knew Mozart's Sonata, distinct parallels between the works, including their moods pathos and dramatic intensity, overall shape of primary themes, large-scale structure, and tonal planning suggest he not only knew the work of his predecessor, but also had a profound understnding of it.
Works: Beethoven: Piano Sonata, Op. 10, No. 1; Mozart: K.309, K.311, K.576 (95).
Sources: Mozart: Piano Sonata, K.457. (DG)
Index classifications: 1700s
Haggh, Barbara Helen. "Communication." Journal of the American Musicological Society 40 (Spring 1987): 139-43.
A textual analysis of the six Kyrie verses of the Naples masses, transcribed by Steven Whiting, casts doubt upon Richard Taruskin's hypothesis (1984) that Busnoys was the first to compose on the L'homme armé theme. One can conjecture, based on the text of the last canon (Mass 6), that there are actually two "armed men" involved, possibly representing Philip the Good and his son, Charles the Bold. (EDL)
Index classifications: 1400s
Hall, Michael F. "Correspondence: The National Anthem." Gramophone 61 (November 1983): 567.
A letter written in response to a previous correspondence by Frank Hill on Shostakovich's borrowings (Oct. 1983 Gramophone). Hall wants to clarify that over 115 composers have used the tune of the British National Anthem in their compositions, in over 125 works of all types. No specific works are mentioned, but the list of composers includes J. C. Bach, Haydn, Beethoven, Liszt, Verdi, Brahms, Ives, and Stockhausen. (PRZ)
Index classifications: 1700s, 1800s, 1900s
Haller, Michael. "Analyse der Missa: 0 admirabile commercium von Giovanni Pierluigi da Palestrina." Kirchenmusikalisches Jahrbuch 9 (1894): 69-76.
Index classifications: 1500s
Hallmark, Rufus. "Schubert's 'Auf dem Strom.'" In Schubert Studies, ed. Eva Badura-Skoda and Peter Branscombe, 25-46. Cambridge: Cambridge University Press, 1982.
Schubert's song Auf dem Strom shares a special kinship with Beethoven's cycle An die Ferne Geliebte. Both concern the union of loved ones despite separation, and this general similarity of spirit and sentiment is reinforced in specific musical terms. The coda of Schubert's song appears to have been modeled on that of Beethoven's cycle, and the central strophes are an almost literal quotation of the funeral march from the Erioca Symphony. This latter allusion is particularly appropriate, as the song was written for, and first performed at, a concert held on the first anniversary of Beethoven's death; this song can therefore be seen as Schubert's musical 'memorial' to his great predecessor. (JSL)
Index classifications: 1800s
Han, Juo-Huang. "The Use of the Marian Antiphons in Renaissance Motets." Ph.D. diss., Northwestern University, 1974.
Index classifications: 1400s, 1500s
Handschin, Jacques. "Zur Frage der melodischen Paraphrasierung im Mittelalter." Zeitschrift für Musikwissenschaft 10 (1927-28): 513-59.
Index classifications: Monophony to 1300, Polyphony to 1300, 1300s
Hannig, R. "Unbewusste Plagiate." Die Musik 22 (December 1929): 178-181.
Index classifications: General, 1800s
Hansen-Appel, Gabriele. "Gustav Mahlers Kindertotenlieder: Quellenstudien und Interpretationen." Ph.D. diss., University of Saarbrücken, 1973.
Index classifications: 1900s
Haraszti, Emile. "Berlioz, Liszt, and the Rakoczy March." The Musical Quarterly 26 (April 1940): 200-31.
Examines the controversy between Berlioz and Liszt as to who first orchestrated the Rakoczy march. Through an historical examination of how Berlioz came to orchestrate the tune and a comparison of the two pieces, Haraszti determines that Berlioz's accounts in his Memoirs concerning the piece's history are largely correct, and that Berlioz's version is not based on that of Liszt. Haraszti also describes the origins of the tune and its significance to Hungarian society.
Works: Berlioz: Rakoczy March; Liszt: Rakoczy March. (WPS)
Index classifications: 1800s
Harbinson, Denis. "Isorhythmic Technique in the Early Motet." Music and Letters 47 (April 1966): 100-9.
Features of the isorhythmic motet hitherto believed to be typical for the ars nova already can be found in the ars antiqua. Harbinson gives evidence by showing how tenores were rhythmically and melodically transformed for use in the motet.
Works: Motets from the Montpellier Codex: Sans orgueil et sans envie/Iohanne (101); Traveillié du mau d'amour/Et confitebor (104-5); Je gart le bois/Et confitebor (102, 105); Liés et jolis/Je n'ai joie/In seculum (105); Douce dame sans pitié/Sustinere (106); Le premier jor de mai/Par un matin me le vai/Iustus (106). (AG)
Index classifications: Polyphony to 1300
Harbison, John. "Peter Maxwell Davies' Taverner." Perspectives of New Music 11 (Fall-Winter 1972): 233-40.
The opera Taverner by Peter Maxwell Davies highlights the composer's ability to portray the struggle between old and new musical styles. Davies has always been interested in musical borrowing. In the late 1950s and early 1960s, this was manifested by his interest in melodic fragments from the seventeenth century. In the 1970s, his interest turned toward theatrical venues and his borrowing became more extensive. The opera tells the story of the composer John Taverner and is based on Taverner's In Nomine, stated in full only at the end of the work. Throughout the work, Davies plays with certain intervals and phrases from Taverner's piece, including the whole tones found in the cantus firmus and the tritones that appear in several voices. By greatly slowing the harmonic motion, Davies is able to reinterpret the pitches and their functions as they stood in the original. This relates to the theme of the opera, which involves an examination of the artist being in league with the devil and with death. (JS)
Index classifications: 1900s
Harris, Ellen T. "Integrity and Improvisation in the Music of Handel." Journal of Musicology 8 (Summer 1990): 301-15.
Handel scholars have criticized or sought to justify Handel's borrowing practices based on issues external to the composing process, such as illness, time-constraints, and lack of talent. Handelians must accept the fact of Handel's borrowing and acknowledge the integrity of Handel's compositional methods by focusing on compositional intent and searching for semantic meanings of the borrowings. Compositional intent is vital to distinguishing between "borrowing" or related benevolent practices, and "plagiarism," which suggests intent to deceive. Performance practice involves elements of improvisation that affect our appreciation of a work, but integrity belongs to the composer and the compositional process. Handel scholars may learn from the methodologies of analysis used by scholars in other areas. For example, Geoffrey Bullough, in his work on Shakespeare's borrowings, does not entertain notions of plagiarism, but argues that Shakespeare drew inspiration from the source and molded it into something new. In his book Painting as an Art, Richard Wollheim argues that it is the intention of the artist while painting that determines whether a work is art. Scholars such as Peter Burkholder and Christopher Ballantine have dealt with the semantic connotations of Ives's borrowing. Evidence of semantic connotations in Handel's borrowings emerge in Israel in Egypt; he pairs related Old Testament and New Testament material from Erba's Magnificat, which suggests he is reinterpreting the texts.
Works: Bach: Fugue in E Major BWV 878 from The Well-Tempered Clavier, Book II (308); Handel, Israel in Egypt. (BP)
Index classifications: 1700s
Harrison, Lou. "On Quotation." Modern Music 23 (Summer 1946): 166-69.
Many twentieth-century composers are motivated to borrow musical materials out of a sense of nostalgia. Two practices can be found: that of Mahler and Ives and that of the neo-classicists. Mahler and Ives both used quoted material drawn from popular and folk culture, Mahler for the purpose of capturing the spirit of the people and thus enabling himself to speak for them, Ives for the purpose of presenting his observations of life and nature; both seldom develop their musical materials. Ives's process of composition is similar to that of the writer James Joyce, in that both begin with simple subjects and use them to create multi-layered meanings. In contrast to Mahler and Ives, the neo-classicists display their nostalgia through reference not to popular music but to the art music of the 18th century. Ironically, the listener finds neo-classicism, with its limited frame of reference, easier to grasp than the music of Ives and Mahler, which draws from a larger pool of resources. (SB/RVT/JS)
Index classifications: 1900s
Hart, Alec. "Correspondence: Shostakovich's Borrowings." Gramophone 61 (August 1983): 212.
A quotation in the fourth movement of Shostakovich's Piano Concerto No. 1 is incorrectly attributed as Ach du Lieber Augustin. According to Hart, the quotation is actually from an English nursery song titled Poor Jennie is a-weeping, a-weeping.
Works: Shostakovich: Piano Concerto No. 1. (LAR)
Index classifications: 1900s
Hartford, Robert. "Correspondences: Shostakovich, Wagner and the Revolution." Gramophone 61 (June 1983): 4, 89.
Shostakovich's Symphony No. 15 quotes Rossini's William Tell Overture in the first movement and Wagner's "Annunciation of Death" motive from Die Walküre in the final movement. These quotations are symbolically related to Eine Kapitulation (1870), a play by Wagner that expressed "contempt for the lost ideals of failed revolutionaries." Shostakovich, through the use of musical allusion, was making a forbidden political statement and giving his Soviet masters "the Russian equivalent of two fingers."
Works: Shostakovich: Symphony No. 15.
Sources: Rossini: William Tell Overture; Wagner: Die Walküre. (LAR)
Index classifications: 1900s
Harvey, Mark Sumner. "Charles Ives: Prophet of American Civil Religion." Ph.D. dissertation, Boston University, 1983.
Index classifications: 1800s, 1900s
Hatten, Robert. "The Place of Intertextuality in Music Studies." American Journal of Semiotics 3/4 (1985): 69-82.
Intertextuality may be defined as "the view of a literary work as a text whose richness of meaning results from its location in a potentially infinite network of other texts." In adapting this notion for music, intertextuality operates on two essential levels: stylistic and strategic. A purely stylistic intertextuality arises when a composer makes reference to the conventions of an earlier style or musical tradition without evoking any particular earlier work. Beethoven exploits stylistic intertextuality in the third movement of his String Quartet in A Minor, Op. 132, where the music is imbued with richer meaning through the conscious evocation of Renaissance and Baroque styles. Strategic intertextuality arises when a composer makes reference to a specific earlier work or works. A "spectacular, perhaps unique, example of strategic intertextuality" occurs in the third movement of Berio's Sinfonia, which represents the end of a chain of intertextual references involving the third movement of Mahler's Symphony No. 2, Schumann's "Das ist ein Flöten und Geigen" from Dichterliebe, and Bach's Cantata No. 19 ("Es erhub sich ein Streit") along with an extensive collage of shorter quotations from musical, literary, and non-literary sources. (MSS)
Index classifications: General, 1900s
Hayes, Jeremy. "Armide--Gluck's most French opera?" The Musical Times 123 (June 1982): 408-15.
Index classifications: 1700s
Heartz, Daniel. "Au pres de vous: Claudin's Chanson and the Commerce of Publishers' Arrangements." Journal of the American Musicological Society 24 (Summer 1971): 193-225.
Duo and trio chansons are usually derived from the text and top part of a chanson for four parts. Au pres de vous is typical. First appearing as a four-part piece in Attaingnant's collection Chansons nouvelles (1528), it was reprinted by Attaingnant and others several times in this format. Later it was substantially reworked in fewer-voice arrangements. As Heartz points out, "A composition of such neatness and clarity, such concision and elegance of detail, offered perfect grist for the arranger's mill." A three-part version from an incomplete publication of Attaingnant, later copied into Moderne's Parangon . . . Quart livre (1539) includes the original superius surrounded by two canonic parts. A duo arrangement in Rhaw's second book of Bicinia also may come from a previous Attaingnant publication, the missing Quarante et quatre chansons à deux, ou duo, chose delectable aux fleustes (1529). Like the three-part arrangement, this duo keeps the superius intact and adds a lower voice that derives much of its material from the original tenor. These few-voiced chansons were meant for the growing market of amateur players and singers.
Works: various anonymous: Au pres de vous.
Sources: Sermisy: Au pres de vous. (JFA)
Index classifications: 1500s
Heartz, Daniel. "Haydn und Gluck im Burgtheater um 1760: Der neue krumme Teufel, Le Diable à Quattre, und die Sinfonie 'Le Soir.'" In Bericht über den Internationalen Muzikwissenschaftlichen Kongress, Bayreuth 1981, ed. Christoph-Helmut Mahling and Sigrid Wiesmann, 120-35. Kassel: Bärenreiter, 1983.
Index classifications: 1700s
Heartz, Daniel. "Mozart and his Italian Contemporaries: La clemenza di Tito." Mozart-Jahrbuch (1978/79): 275-293.
Index classifications: 1700s
Heartz, Daniel. "Mozart's Overture to Titus as Dramatic Argument." The Musical Quarterly 64 (January 1978): 29-49.
Mozart's overtures were usually the last part of his operas to be written, since they required only a run-through by the orchestra, while the other sections had to be in the hands of performers ahead of time for study and rehearsal. However Mozart's overtures since Idomeneo are extremely important, because they present with economy of means the emotional and intellectual content of the drama. Among Mozart's overtures, the one to La clemenza di Tito uses the greatest number of musical ideas from the body of the opera. A possible reason for this fact is that Mozart had a very limited amount of time to compose it. The overture to Titus reproduces the harmonic scheme of the opera as a whole, and the sequence of tonalities of different numbers of the opera is also reflected in some of the cadential progressions such as IV-V-I. The music of two of the main characters also plays a major role in the overture, preparing us for the heroism of Sextus and the fiery and scheming Vitellia. (LFL)
Index classifications: 1700s
Heartz, Daniel. "Haydn's Acide e Galatea and the Imperial Wedding Operas of 1760 by Hasse and Gluck." In Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress, Wien, Hofburg, 5.-12. September 1982, ed. Eva Badura-Skoda, 332-40. Munich: G. Henle, 1986.
Haydn's opera Acide e Galatea, composed for the wedding of Prince Esterzahy's son, was inspired by two earlier works, Gluck's Tetide, and Hasse's Alcide al Bivio, both written for the festivities surrounding the wedding of Archduke Joseph. Aware of the immense popularity of the two former works, Haydn felt obliged to create an opera that captured the same dramatic intensity and standard of magnificence. He accomplished this goal by borrowing elements of their musical style. From Alcide al Bivio he borrowed features of the melodic construction, and from Tetie the treatment of dissonance and conjunction of three contrasting ideas within a single number.
Works: Mozart: Entführung aus dem Serail (335), Idomeneo (338); Gluck: L'Invrogne Corrigi (335); Haydn: Neuer krummer Teufel (336), Symphony No. 6 ("Le Matin"), Symphony No. 7 ("Le Midi"), Symphony No. 8 ("Le Soir") (336); Gluck: Diable a Quatre (336). (DG)
Index classifications: 1700s
Heidlberger, Frank. "Handels Israel in Egypt und das Problem der Entlehnung." In Von Isaac bis Bach--Studien zur alteren deutschen Musikgeschichte: Festschrift Martin Just zum 60. Geburtstag, ed. Frank Heidlberger, Wolfgang Osthoff, and Reinhard Wiesend, 241-55. Kassel: Bärenreiter, 1991.
Index classifications: 1700s
Hein, H. G. "Das Plagiat in der Tonkunst." Ph.D. diss., University of Cologne, 1937.
Index classifications: General
Heller, Charles. "Traditional Jewish Material in Schoenberg's A Survivor from Warsaaw, Op. 46." Journal of the Arnold Schoenberg Institute 3 (March 1979): 69-74.
Schoenberg's setting in A Survivor from Warsaw of the Shema Yisrael has an audible similarity to traditional melodies used for this prayer. The emphasis of the minor second as the concluding interval in Schoenberg's version evokes the "Avavoh Rabboh" Jewish cantillation mode, closely related to the Phrygian mode of Western music. Schoenberg seems to have constructed the basis twelve-tone row used in this piece with its application to the Shema in mind. Heller joins Christian Schmidt in disputing the contention of Wilfried Gruhn that other material in this work also has sources in traditional Jewish music. (DL)
Index classifications: 1900s
Hellquist, Per-Anders. Om musik. Stockholm: P. A. Norstedt & Söners Förlag, 1984.
Index classifications: General
Henderson, Clayton W. The Charles Ives Tunebook. Bibliographies in American Music, no. 14. Michigan: Harmonie Park Press, 1990.
Index classifications: 1800s, 1900s
Henderson, Clayton W. "Ives's Use of Quotation." Music Educators Journal 61 (October 1974): 24-28.
Ives's method of quotation is seen as a reworking of borrowed material by altering melodic segments. These modifications range from omission or substitution of several notes to the paraphrasing of a hymn, with preexistent forms used in order to describe and/or serve as a structural foundation. Many musical examples illustrating Ives's techniques are cited. Examples are rhythmic transformation seen in the Fourth Symphony's use of Nettleton, treatment of the head motive of Foster's Old Black Joe in the Three Places in New England, and the improvised qualities of Erie in the First Piano Sonata. The article concludes with a diagram of the architectonic structure of."The 'St. Gaudens' in Boston Common" from Three Places in New England.
Works: Ives: Sonata No. 1 for Violin and Piano (24), Piano Sonata No. 2 ("Concord, Mass., 1840-1860") (24), Three Places in New England (24, 25, 28), Washington's Birthday (25), Symphony No. 4 (24-26), String Quartet No. 2 (24), Three Quarter-tone Piano Pieces (26), Piano Sonata No. 1 (26), Central Park in the Dark (26), Symphony No. 3 (26), General William Booth Enters into Heaven (26), Sonata No. 3 for Violin and Piano (26). (MM)
Index classifications: 1800s, 1900s
Henderson, Clayton W. "Quotation as a Style Element in the Music of Charles Ives." Ph.D. diss., Washington University, 1969.
Index classifications: 1800s, 1900s
Henderson, Clayton W. "Structural Importance of Borrowed Music in the Works of Charles Ives: A Preliminary Assessment." In Report of the Eleventh Congress of the International Musicological Society Held at Copenhagen, 1972, ed. Henrik Glahn, Soren Sorensen, and Peter Ryom, vol. 1, 437-46. Copenhagen: Wilhelm Hansen, 1974.
Henderson gives a survey of Ives's structural use of borrowed material and in some cases mentions its extramusical value. The following features are discussed and partially illustrated in figures: (1) Quotation in a rhapsodic/improvisatory style; (2) quotation in a chorale-oriented style (reminiscent of organ music); and quotations to create (3) a rondo form; (4) verse and refrain structures; (5) ternary forms; (6) arch-forms; and (7) cyclic forms. Several designs can be combined in one piece.
Works: Ives: Piano Sonata No. 1 (438), Symphony No. 3 (439), Symphony No. 4 (442), Central Park in the Dark (439), General William Booth Enters Into Heaven (439), Violin Sonata No. 3 (439), A Symphony: "New England Holidays" (440), "The 'St. Gaudens' in Boston Common" from Three Places in New England (441), Piano Sonata No. 2 ("Concord, Mass., 1840-1860") (443). (AG)
Index classifications: 1900s
Henderson, Donald. "Hans Pfitzner's Palestrina: A Twentieth-Century Allegory." The Music Review 31 (February 1970): 32-42.
Pfitzner's opera about Palestrina's divinely inspired act of composing the Pope Marcellus Mass upholds the musical tradition of the Wagnerian music drama and the philosophical tradition of Schopenhauer. A quotation from the Pope Marcellus Mass, the Kyrie eleison head-motive, provides the structural and philosophical cornerstone of the work. Pfitzner's theory of composition based on divine musical inspiration receives its finest realization in the first act of the opera, which focuses on Palestrina's reception of that head-motive. (AW)
Index classifications: 1900s
Henderson, Lyn. "How The Flaming Angel became Prokofiev's Third Symphony." The Music Review 40 (February 1979): 49-52.
Henderson points out in detail the cut and paste approach Prokofiev used to create a symphony from his unsuccessful opera, The Flaming Angel. Entire sections of the opera are simply added one after the other to form the various movements of this orchestral piece. A chart at the end of the article lists the measure numbers of the symphony followed by the location of their sources in the opera. (BJT)
Index classifications: 1900s
Hennig, Kurt. Die geistliche Kontrafaktur im Jahrhundert der Reformation. Halle, 1909.
Index classifications: 1500s
Henning, Rudolf. "A Possible Source of Lachrymae?" The Lute Society Journal 24 (1974): 65-68.
The search for unnamed musical models that were adopted by sixteenth- and seventeenth-century composers is problematic because the musical language of the time made extensive use of stereotyped formulas. For example, it would be misleading to think of the descending chromatic passage of a fourth in John Dowland's lute solo Forlorn Hope Fancy as a "theme" composed by Dowland, because it was simply a commonly used formula of the time. Dowland's famous tune Lachrymae (which was quoted throughout the seventeenth century in a large number of compositions) also consists of a descending scalar line and therefore poses similar problems in that it could be merely an example of a common melodic formula. It is possible, however, that Cipriano De Rore's frequently printed 1548 madrigal Quando lieta sperarai was the model for Dowland's tune. It contains a very similar melodic passage set to the words "Lagrimae dunque." It is likely that Dowland became familiar with this madrigal on his 1595 trip to Italy and incorporated it into his composition.
Works: Dowland: Lachrymae (65-68).
Sources: Rore: Quando lieta sperarai (65-68). (STG)
Index classifications: 1500s, 1600s
Henze, Hans Werner. "Tristan." In Music and Politics: Collected Writings 1953-81, 222-29. Trans. Peter Labanyi. London: Faber & Faber, 1982.
This essay, written in 1975, is part of a collection of personal memoirs by the composer. Although many of his works involve borrowings of various kinds, this essay deals with the concept explicitly and presents a subjective, first-hand account of the process. In 1972, Henze wrote a piano piece he called "Prélude" which distantly recalled Wagner's Tristan und Isolde. Through further thinking and dreaming, the orchestra piece Tristan began to take shape. Part of the process involved a computer analysis of the first four measures of Act III of Wagner's opera. Tristan, written in 1973, uses tapes generated by the computer analysis of the Wagner excerpt as well as a full orchestra. Other quotations in the work include several bars of Brahms's First Symphony, which Henze explains is intended to represent an enemy, and Chopin's funeral march from his Sonata in B-flat major.
Works: Henze: Prélude (222), Tristan (223-29). (JS)
Index classifications: 1900s
Hepokoski, James A. "Formulaic Openings in Debussy." 19th-Century Music 8 (Summer 1984): 44-59.
Debussy's early works involve explicit reliance on existing models while in his later works the models become more tacit and personalized. This process can be observed in his formulaic openings to works. There are three main categories of such openings: (1) monophonic openings, (2) modal/chordal openings, and (3) introductory sequences and expansions. Numerous examples are cited for each. Such formulas are primarily a mid-to-late nineteenth-century phenomenon. Hepokoski invokes Dahlhaus's concept of originality and the influence of the Symbolists.
Works: Debussy: Printemps (46), La Damoiselle élue (48). (DCB)
Index classifications: 1800s, 1900s
Hepokoski, James. "Temps Perdu." The Musical Times 135 (December 1994): 746-51.
[On the Ives Violin Sonatas.]
Index classifications: 1900s
Hertz, David Michael. Angels of Reality: Emersonian Unfoldings in Wright, Stevens, and Ives. Carbondale and Edwardsville: Southern Illinois University Press, 1993.
Index classifications: 1900s
Hertz, David Michael. "Ives's Concord Sonata and the Texture of Music." In Charles Ives and His World, ed. J. Peter Burkholder, 75-117. Princeton: Princeton University Press, 1996.
Index classifications: 1900s
Herzberger, F. W. "Luther's Hymn 'Ein' feste Burg.'" In Four Hundred Years: Commemorative Essays on the Reformation of Dr. Martin Luther and Its Blessed Results, ed. W. H. T. Dau, 159-72. St. Louis: Concordia, 1917.
Perhaps the quintessential Lutheran hymn, Ein feste Burg embodies Martin Luther's faith and had lasting musical effects, not only on his own generation but also on generations of composers to come. The verse structure of Psalm 46 appealed to Luther most strongly in the last line, which stands on its own in the rhyme scheme and makes the text more powerful, as though one could reduce the psalm to a simple statement of faith. Further, Luther's musical setting, with three repeated notes to begin the tune, made a lasting impression on future composers. Some composers, such as J. S. Bach and Mendelssohn, use the tune in order to let it emerge from a complex texture, reinforcing its victorious and ultimately religious connotations. Others, including Meyerbeer, use the tune for programmatic rather than religious purposes, as the tune accompanies "undressing girls." The diversity of uses, whether religious or not, reflects the lasting power of Luther's original.
Works: J. S. Bach: "Ein feste Burg" from In Festo Reformationis, BWV 80 (166); Meyerbeer: Les Huguenots (167); Reinecke: Zur Reformationsfeier, Op. 191 (167); Wagner: Huldigungsmarsch (167); Nicolai: Kirchliche Fest-Ouvertüre über "Ein feste Burg" (167); Raff: Ein feste Burg ist unser Gott, Op.127 (167); Mendelssohn: Symphony No. 5 in D Minor, Reformation (167-68).
Sources: Martin Luther: Ein feste Burg (159-66). (KJL)
Index classifications: 1700s, 1800s
Heuss, Alfred. Kammermusikabende: Erläuterungen von Werken der Kammermusikliteratur. Leipzig: Breitkopf & Hartel, 1919.
Index classifications: General
Hewitt, Helen. Petrucci: Harmonice Musices Odhecaton A. Cambridge Mass.: The Medieval Academy of America, 1942; reprint, New York: Da Capo, 1978.
[Has list of related works.]
Index classifications: 1400s
Hewitt, Helen. "Fors seulement and the Cantus Firmus Technique of the Fifteenth Century." In Essays in Musicology in Honor of Dragan Plamenac on his 70th Birthday, ed. Gustave Reese and Robert J. Snow, 91-126. Pittsburgh: University of Pittsburgh Press, 1969.
The rondeau Fors seulement seems to have inspired imitation by composers of numerous secular chansons in much the way that L'Homme armé inspired Mass settings. Thirty-five surviving works are based on Fors seulement. Although the rondeau itself was written before 1470, twenty-six of the Fors seulement parodies are based on Ockeghem's three-part setting, which appeared five years later. Ockeghem's superius is the part most often borrowed by other composers, but it is often placed in a different voice using a transposed mode. Two later sources seem to point toward the creation of a new cantus firmus, which served as the model for the setting (probably by Matthaeus Pipelare) published by Petrucci in Canti B in 1502. Pipelare's setting, in turn, served as a model for Antoine de Févin's setting using Fors seulement la mort rather than the original Fors seulement l'attente. Willaert's five-part setting is drawn in turn from Févin. Appendices list all thirty-five settings with their sources, and trace the lineage of borrowing from Ockeghem to Willaert.
Works: Antoine de Févin: Fors seulement (100, 116, 123, 124, 126); Adrian Willaert: Fors seulement (101-02, 117, 126).
Sources: Johannes Ockeghem: Fors seulement (94-96, 108-09, 122); Anonymous: Fors seulement (97-98, 115, 123-4); Mattheus Pipelare: Fors seulement (98-100, 115-16, 125, 126). (FC)
Index classifications: 1400s, 1500s
Heyman, Barbara B. "Stravinsky and Ragtime." The Musical Quarterly 68 (1982): 543-62.
Discusses Stravinsky's incorporation of ragtime elements into Histoire du Soldat, Ragtime for Eleven Instruments, and Piano-Rag Music. Heyman presents convincing evidence that Stravinsky likely heard early jazz in Europe before 1918, contradicting Stravinsky's own statements that he had not. Stravinsky neither quoted from specific pieces nor used jazz pieces as formal models, but he used characteristic ragtime rhythms and instrumental colors of early jazz. (FT)
Index classifications: 1900s
Hicks, Michael. "The New Quotation: Its Origins and Functions." D.M.A. diss., University of Illinois at Urbana-Champaign, 1984.
Index classifications: 1900s
Hicks, Michael. "Text, Music, and Meaning in the Third Movement of Luciano Berio's Sinfonia." Perspectives of New Music 20 (Fall/Winter 1981-Spring/Summer 1982): 199-224.
Berio's aesthetic is one of communication and commentary. The third movement of the Sinfonia is first and foremost a setting and interpretation of the main text, Beckett's The Unnamable. Mahler's scherzo from the Second Symphony is the cantus firmus of the movement. An understanding of the song upon which Mahler based his movement, "Des Antonius von Padua Fischpredigt" from Des Knaben Wunderhorn, aids in the understanding of the Berio movement. A discussion of quotation and allusion includes reference to James Joyce. In the cases of Beckett, Mahler, Joyce, and Berio, "the artist has become the subject of art." A complete analysis of Berio's movement is beyond the scope of the article. Allusions to Schoenberg, Debussy, Mahler, Hindemith, Berg, Brahms, Ravel, Strauss, Berlioz, Stravinsky, Berio himself, Pousseur, Beethoven, Boulez, Webern, Stockhausen, and perhaps Schumann are pointed out. In music of the 1970s, especially in the music of American composers, quotation is the rule rather than the exception. (DCB)
Index classifications: 1900s
Higuchi, Ryuichi. "On the Origin of a Lament for Prince Leopold of Anhalt-Cöthen, BWV 244a, and its Parody Technique." Journal of the Japanese Musicological Society 20 (1974): 98-116.
Index classifications: 1700s
Hill, Frank. "Correspondence: Shostakovich's Borrowings." Gramophone 61 (October 1983): 416.
While this correspondence has nothing to do with Shostakovich's borrowings, it contains several interesting comments on musical borrowings in general. Hill states that "Notte e giorno faticar" from Mozart's Don Giovanni is quoted in Offenbach's Tales of Hoffman because Hoffman is waiting for his latest love, Stella, who is appearing in a performance of Don Giovanni in the theater next door. Hill parenthetically adds that "it is very difficult to think of a work of any length without a quote," and states that at least 24 works borrow from God Save the King.
Works: Offenbach: Tales of Hoffmann. (LAR)
Index classifications: 1800s, 1900s
Hill, John. "A Computer-Based Analytical Concordance of Vivaldi's Aria Texts: First Findings and Puzzling New Questions about Self-Borrowing." In: Nuovi studi Vivalidani: Edizione e cronologia critica della opera, ed. Antonio Fanna and Giovanni Morelli, 511-34. Florence: Olschki, 1988.
Index classifications: 1700s
Hinrichsen, Max. "Compositions Based on the Motive B-A-C-H." In Hinrichsen's Musical Yearbook: Vol. 7, ed. Max Hinrichsen, 379-81. London: Hinrichsen Edition, 1952.
A list of twenty-nine works using B-A-C-H, the majority of which are by German composers.
Works: Joseph Ahrens: Triptichon; Johann Albrechtsberger: Organ Fugue in G Minor; J. C. Bach: Organ Fugue in G Minor; J. S. Bach: Prelude and Fugue on the name BACH, Art of Fugue; Otto Barblan: Chaconne, Op. 10, Passacaglia, Variations, and Triple Fugue, Op. 24; Ludwig van Beethoven: 2 sketches for an Overture and Canon, 10th Symphony; Heinrich Bellerman: Organ Prelude and Fugue, Op. 8; Johannes Brahms: Cadenza to Beethoven's Piano Concerto No. 4 in G Major; Alfred Herbert Brewer: Meditation; Ferruccio Busoni: Fantasia Contrappuntistica; Alfredo Casella: Due Ricercari sul nome di Bach; Cyril S. Christopher: Soliloquy on B-A-C-H and the Chorale "Wenn wir in höchsten Nöten sein; Hanns Eisler: Piano Trio on the 12-tone Scale; Wolfgang Fortner: Fantasia; Vincent d'Indy: "Beuron," No. 11 from Tableaux de Voyage, Op. 33; Sigfrid Karg-Elert: Passacaglia and Fugue, Op. 150, Basso Ostinato, Op. 58, repeated in one of his two Op. 142, Sempre Semplice; Johann Ludwig Krebs: Organ Fugue in B-flat Major; Franz Liszt: Prelude and Fugue for Organ, Fantasia and Fugue for Piano; Felix Mendelssohn: 6 Fugues; Wilhelm Middelschulte: Canonical Fantasia; Riccardo Nielsen: Ricercare, Chorale and Toccata; Ernst Pepping: Three Fugues; Walter Piston: Chromatic Fantasy; Max Reger: Organ Fantasia and Fugue, Op. 46; Josef Rheinberger: Organ Fughetta, Op. 123a No. 3; Nikolai Rimsky-Korsakov: Six Variations, Op. 1; Robert Schumann: 6 Fugues, Op. 60; Georg Andreas Sorge: 3 Fugues. (JP)
Index classifications: 1700s, 1800s, 1900s
Hinton, Stephen. "'Matters of Intellectual Property': The Sources and Genesis of Die Dreigroschenoper." In Kurt Weill: The Threepenny Opera, ed. Stephen Hinton, 9-49. New York: Cambridge University Press, 1990.
Because of the speed with which it was written and the collaborative nature of the project, the true origins of The Threepenny Opera are difficult to trace with precision. Nominally the work is a parody of John Gay's The Beggar's Opera, which had enjoyed a successful revival in London from 1920 to 1923. In fact the publisher Schott had contacted the young Paul Hindemith with the idea of providing new music for this play. Weill retained only one of the 69 melodies from the original Beggar's Opera, but several other tunes may have been patterned after specific models.
Works: Kurt Weill, The Threepenny Opera (13, 36-40).
Sources: Johann Christoph Pepusch: The Beggar's Opera (13, 36); Eduard Künneke: Der Vetter aus Dingsda (36); Puccini: Madame Butterfly (40); Engelbert Humperdinck: Hänsel und Gretel (40-41). (FC)
Index classifications: 1900s
Hitchcock, H. Wiley. Ives. Oxford Studies of Composers 14. London, New York, and Toronto: Oxford University Press, 1977. Reprint with corrections as Ives: A Survey of the Music. Brooklyn: Institute for Studies in American Music, 1985.
Index classifications: 1800s, 1900s
Hitchcock, H. Wiley. "Ivesiana: The Gottschalk Connection." Institute for Studies in American Music Newsletter 15 (November 1985): 5.
In Psalm 90, Ives quotes Louis Moreau Gottschalk's famous piano work, The Last Hope. The quotation appears in the second half of Verse 6, with the text "in the evening it is cut down, and withereth." Ives's borrowing may refer to The Last Hope, subtitled "religious meditation," or to the hymn Mercy, also known as Gottschalk, itself derived from The Last Hope and attributed to Edwin Pound Parker. (EB)
Index classifications: 1800s, 1900s
Hoekstra, Gerald R. "An Eight-Voice Parody of Lassus: André Pevernage's Bon jour mon coeur." Early Music 7 (July 1979): 367-77.
Ronsard's poem "Bon jour mon coeur" was set to music by five composers during the 1560s and 1570s, including Lassus, Goudimel, Jean de Castro, Philippe de Monte, and André Pevernage. The latter composed a parody of Lassus's chanson that doubles the length and number of voices of the model.
Works: Buus: Douce memoire (369); Gardane: Amours sans fin est le cordier cordant (369); Pevernage: Bon jour mon coeur (368-77). (SB)
Index classifications: 1500s
Hoffmann-Erbrecht, Lothar. "Heinrich Fincks Weihnachtsmotetten." In Gedenkschrift Hermann Beck, ed. Hermann Dechant and Wolfgang Sieber, 11-17. Laaber: Laaber-Verlag, 1982.
Index classifications: 1400s, 1500s
Hofmann, Klaus. Untersuchungen zur Kompositionstechnik der Motette im 13. Jahrhundert durchgeführt an den Motetten mit dem Tenor "In seculum." Neuhausen-Stuttgart: Hänssler, 1972.
In his discussion of the composition process of thirteenth-century motets, Hofmann emphasizes the adaptation of the plainchant excerpt In seculum and its influence on the upper parts. He distinguishes two categories of notes, the ones in the chain of thirds including d-f-a-c'-etc. (U-class) and the ones of the chain c-e-g-h-etc. (Pu-class). Composers arranged the tenors in a rhythmic mode that would enable as many notes from the U-class to fall on a "locus impar" (Garlandia), i.e., for example, in the first mode on the first and third note of the rhythmic pattern. The upper voice is divided into the same classes of notes and organized according to similar melodic principles as the tenor. Thus not primarily rules concerning intervals but melodic features of the parts determine the consonances (Zusammenklänge) of the motet. Most vernacular motets borrow refrains, i.e., preexistent textual and musical entities that stand at the beginning of the compositional process. The tenor--hitherto believed to have been the unchangeable point of departure--undergoes changes to meet the requirements of consonance with the refrain and relationship of phrases. The composer, who most probably was also the poet, related the remainder of the motetus textually and musically to the refrain, which resulted in its optimal integration. The page numbers for the following motets are listed in the appendix of Hofmann's study (p. XV-XXII).
Works: Mout est fous qui s'entremet/Morrai je en atendant, amour/Omnes; Ma loiauté m'a nuisi/A la bele Ysabelet/Omnes; Salve, laborancium/Celi luminarium/Omnes; Chorus innocentium/In Bethleem Herodes iratus/In Bethleem; O Maria, decus angelorum/De virgula/Et confitebor; Ecclesie princeps/Et confitebor; In serena facie/In seculum; Si vere vis adherere Uti vere/Si vere vis adherere Vitis palmes/In seculum; Trop m'a amours/In seculum; Peto linis oculum/In seculum; Li douz maus/Trop ai lonc tens/Ma loiauté/In seculum; O felix puerpera/In seculum; Chascun dit/Sa j'ai amé folement/In seculum; Bien doit avoir joie/In seculum; Je cuidai mes maus celer/In seculum; Tout adés mi trouverés/In seculum; A une ajornée/Douce dame en cui dangier/In seculum; Cil brunés ne me meine mie/In seculum; Trop fu li regart amer/J'ai si mal/In seculum; La fille den Hue/In seculum; Ma loiaus pensée/In seculum; Ja n'avrés deduit de moi/In seculum; Se j'ai folloié d'amours/In seculum; Nus ne puet chanter/In seculum; Amours en boine volenté/In seculum; Lonc tens ai mon cuer/In seculum; La bele m'ocit/In seculum; J'ai trouvé qui me veut/In seculum; Ne m'a pas oublié/In seculum; Quant iver la bise/In seculum; Li maus amourous me tient/In seculum; Trop souvent me duel/Brunete, a cui j'ai mon cuer doné/In seculum; Salus virgini per quam/Hodie natus in Israhel/In seculum; Dieus! de chanter/Chant d'oisiaus/In seculum; Liés et jolis/Je n'ai joie/In seculum; Hé! trés douces amouretes/D'amours esloigniés/In seculum; L'autr'ier trouvai/L'autr'ier lés une espinete/In seculum; En son service amourous/Tant est plaisant/In seculum; La biauté ma dame/On doit fine amour/In seculum; J'ai les biens d'amours/Que ferai/In seculum; Se griés m'est au cors/A qui dirai/In seculum; Qu'ai je forfait ne mespris/Bons amis/Am in seculum; En nom Dieu, que que nus die, Trop/En nom Dieu, que que nus die, L'amour/Am in seculum; Mout me fu griés/In omni fratre tuo/In seculum; J'os bien m'amie a parler/Je n'os a m'amie aler/In seculum; L'autre jour par un matin/Au tens pascour/In seculum; O felix puerpera, Flos virginum/In seculum; Eva, quid deciperis/In seculum; Amours en cui/En mon cuer/In seculum; Resurrexit hodie/In seculum; Quant se depart/He! cuer joli/In seculum; Puisqu'en amer/Quant li jolis/In seculum; In seculum aritfex/In seculum supra/In seculum; Ja n'amerai/Sire Dieus/In seculum; ...mpendia cujus natura/O homo de pulvere/In seculum; Que demandés vous/Latus; Ja de boine amour/Ne sai tant amours/Sustinere; Li maus amourous/Dieus! pour quoi/Virgo; Q pia capud hostis/Virgo; Au douz mai/Vigro; Li douz chans des oisellons/Virgo; M'ocirés vous/Audia filia; O homo, considera/O homo de pulvere/Filie Jherusalem; Je cuidai mes maus celer Et soustenir/[??]. (AG)
Index classifications: Polyphony to 1300
Hold, Trevor. "Grieg, Delius, Grainger and a Norwegian Cuckoo." Tempo, no. 203 (January 1998): 11-19.
A web of influence and borrowing exerted itself in the friendships between Edvard Grieg, Frederick Delius, and Percy Grainger. Grieg's Norwegian folksong settings served as models for Grainger's own folksong arrangements, and specific musical quotations exist in Delius's On Hearing the First Cuckoo in Spring, a meditation on Grieg's "I Ola Dalom." Delius quotes the melody from Grieg's setting, but was also influenced by his textures, harmonic structure, free variation, and development. It has also been noted that Delius's composition has a resemblance to Grieg's "The Students' Serenade" from Moods, Op. 73, No. 6. Furthermore, the interval of a descending minor third from leading tone to dominant is borrowed from Grieg. This melodic interval resembles a cuckoo call and was likely to have prompted Delius to use Grieg's setting as a model from which to draw.
Works: Delius: On Hearing the First Cuckoo in Spring (13, 15-19).
Sources: Grieg: Norwegian Folk Songs, Op. 66: "Je gaar I tusind tanker" (12),"I Ola Dalom (12-18), Moods, Op. 73, No. 6, "The Student's Serenade" (17-18). (CMH/TC)
Index classifications: 1900s
Hollander, Hans. "Die Beethoven-Reflexe in Schuberts grosser C-Dur-Sinfonie." Neue Zeitschrift für Musik 126 (May 1965): 183-85.
Beethoven's influence on Schubert was a psychological as much as musical one, against which the composer struggled. The Great C Major Symphony is an illustration of how much of this influence had been absorbed by the end of his life. Important rhythmic and formal features of the central movements are related to those of Beethoven's Seventh Symphony, and a theme in the finale is strongly reminiscent of the "Ode to Joy" theme from his Ninth. However, the most important influence of Beethoven can be seen in the tight-knit thematic organicism (based primarily on the third-motive of the Introduction) that characterizes the entire work. (JSL)
Index classifications: 1800s
Hollander, Hans. "Zum Selbstzitat in Schuberts Musik." Das Orchester 27 (January 1979): 11-13.
The subjective nature of Schubert's music is manifested in his use of self-quotation. Symbols found in the early songs recur in later works with their significance deepened through personal experience, including musical usage. One such symbol, dactylic rhythm, which represents the wanderer (Schubert himself) and death, appears in various guises throughout Schubert's compositions, including recall of melodic themes in similar psychological situations. This form of self-quotation differs from that found in other Schubert compositions such as variations on his own themes.
Works: Liszt: Transcription of Schubert's Wanderer Fantasie; Schubert: Fantasia for Violin and Piano in C Major, Impromptu No. 4 in B-flat Major, Der Jüngling und der Tod, Octet in F Major, Rosamunde, String Quartet in A Minor, String Quartet in D Minor, Der Tod und das Mädchen, Variations on Die Forelle, Variations on Trockne Blumen for Flute and Piano, Wiegenlied, Der Wanderer, Wanderer Fantasie, Wanderers Nachtlied. (CMC)
Index classifications: 1800s
Holloway, Robin. Debussy and Wagner. 1979. [See Austin review.]
Index classifications: 1800s, 1900s
Holm-Hudson, Kevin. "Quotation and Context: Sampling and John Oswald's Plunderphonics." Leonardo Music Journal: Journal of the International Society for the Arts, Sciences, and Technology 7 (1997): 17-25.
Though sampling only emerged with the invention of digital technology in the 1980s, it is best understood as part of the long history of musical borrowing. Specific melodic quotation, akin to literal sampling, can be found throughout western art music in the works of composers like Bach, Berlioz, Tchaikovsky, and Ives. In this repertoire, the context in which the quotation appears imposes commentary or new meaning on the original. A similar process occurs with digital sampling where meaning is often generated through recontextualization and juxtaposition of samples. In attempts to generate a "taxonomy" of sampling practices, scholars David Sanjek, Thomas Porcello, and Chris Cutler have created classification systems based, respectively, on reconcilability of the source, procedural methods, and in terms similar to Christopher Ballentine's "musical-philosophical" ideals. The central difference between digital sampling and traditional borrowing is that "the timbre is appropriated in addition to pitch and rhythm." In addition to illustrating the role of recontextualization of sampled material in creating meaning, John Oswald's works Plunderphonics and Plexure demonstrate the role of timbre in conveying musical meaning. For example, Oswald experiments with the timbre of Michael Jackson's voice in the piece "DAB" on Plunderphonics.
Works: Alex Paterson and Youth [Orb]: Little Fluffy Clouds (18-19); James Tenney: Collage #1: Blue Suede (19); John Oswald: Plunderphonics (20-23), DAB (21-22), Plexure (23-24).
Sources: Ennio Morricone: Score for Once Upon a Time in the West (18-19); Steve Reich: Electric Counterpoint (18-19); Carl Perkins: Blue Suede Shoes as performed by Elvis Presley (19); Michael Jackson: Bad (21-22). (SLF)
Index classifications: 1900s, Popular
Holm-Hudson, Kevin. "John Oswald's Rubaiyat (Elektrax) and the Politics of Recombinant Do-Re-Mi." Popular Music and Society 20, no. 3 (Fall 1996): 19-36.
Advances in technology in the twentieth century, such as the reproduction and manipulation of sound, have led to controversies regarding intellectual property, copyright law, and even the very def