Igoe, James Thomas. "Performance Practices in the Polyphonic Mass of the Early Fifteenth Century." Ph.D. dissertation, University of North Carolina, 1971.
Index classifications: 1400s
Irving, John. "John Blitheman's Keyboard Plainsongs: Another Kind of Composition?" Plainsong and Medieval Music 3 (October 1994): 185-93.
Although John Blitheman is best known for his virtuosic keyboard compositions and as the teacher of John Bull, close inspection of his plainsong variations show that he was highly innovative in terms of thematic integration and development. His four verses, or variations, on the hymn Eterne rerum each present a unique setting of the plainsong. Blitheman's cadences are usually derived from the phrases of the original chant, and melodic motives, taken from the openings of each variation, are treated with intervallic and rhythmic flexibility. In the fourth variation, three distinct motives are developed using retrograde motion and inversion. In Eterne rerum, as well as his setting of the Compline hymn Christe qui lux es, Blitheman integrates the cantus firmus into the imitative motives of the surrounding polyphony.
Works: John Blitheman: Eterne rerum (186-88), Christe qui lux es (188).
Sources: Hymn: Eterne rerum (186-88); Compline Hymn: Christe qui lux es (188). (REG)
Index classifications: 1500s
Ives, Charles E. Memos. Edited and with appendices by John Kirkpatrick. New York: W. W. Norton, 1972.
Index classifications: 1800s, 1900s
Ivry, Benjamin. "Too Strong for Fantasias: Does the Popularization of Opera Themes breed Familarity--or Contempt?" Opera News 53 (21 January 1989): 20-21, 46.
Virtuosic transcriptions of opera themes became very popular in the nineteenth century. In many cases this led to an overfamiliarity that resulted in contempt. Among composers who made arrangements of opera arias were Liszt, Chopin, Huten, Czerny, Thalberg, Herz, Krebs, Rummel, and Heller. Some arrangements were for several pianos. Others were variations by several composers on the same theme.
Works: Czerny: Fantasy on themes from Meyerbeer's Robert le Diable (21); Thalberg: Fantasy on Meyerbeer's Les Huguenots, Op. 20 (21); Herz: Variations on Ein feste Burg (21). (CMC)
Index classifications: 1800s
Jablonski, Edward. "An Almost Completely New Work: Gershwin's Own Suite from Porgy and Bess." The American Record Guide 25 (August 1959): 848-49.
Gershwin's own Suite from his opera Porgy and Bess is a large improvement on the suites composed by Morton Gould and Robert Russell Bennett, in that the orchestration is left alone more often and less new material is written into it than in the other two versions. Basically a "scissors and paste job," the new suite includes some music cut from the opera itself, along with many of the hit songs. The suite demonstrates Gershwin's considerable mastery of orchestral writing and orchestration as well.
Works: Gershwin: Catfish Row: Suite from Porgy and Bess (848-49).
Sources: Gershwin: Porgy and Bess (848-49). (MEG)
Index classifications: 1900s
Jackson, Roland. "Musical Interrelations between Fourteenth Century Mass Movements (A Preliminary Study)." Acta Musicologica 29 (April/September 1957): 54-64.
The Agnus Dei in the Cambrai m.s. Communale 1328 served as the model for the Sanctus of the Sorbonne Mass and the Sanctus of the Ivrea Mass. A close analysis of their musical relationships, including a comparison of their formal design, texture, motivic treatment and direct musical correspondences, reveals the exact order of their composition. Superior formal coherence and clarity of design suggest the Cambrai was the model that was later expanded by the composer of the Ivrea with frequent interpolations and condensed by the composer of the Sorbonne, who omits large blocks of material. Professor Schrade's (1955) contention that there is a relationship between the Gloria of the Sorbonne Mass and the Credo of the Ivrea is somewhat tenuous; however, such a relationship does exist between a Sanctus from the Apt Manuscript and a Kyrie and Patrem from the Ivrea Manuscript. Based on a comparison of the shared musical material, formal structure, and melodic complexity, one can conclude that the Patrem was either the original upon which the other two were based or it was the link between them. These two examples prove that the parody technique existed in the fourteenth century. These movements should not be considered a precursor to parody, but rather as a separate technique. (DG)
Index classifications: 1300s
Jackson, Roland. "Aesthetic Considerations in Regard to Handel's Borrowings." In Alte Musik als ästhetische Gegenwart: Bach, Handel, Schütz; Bericht über den Internationalen Musikwissenschaftlichen Kongress, Stuttgart, 1985, vol. 2, ed. Dietrich Berke and Dorothee Hanemann, 1-11. Kassel: Bärenreiter, 1987.
Examining works of Handel in which he reused earlier pieces with new texts or media reveals that he did not wish to aesthetically improve upon the works from which he borrowed. He sought to adapt the old piece to the new words or instrumentation, not to upgrade it. Yet altering musical detail, such as elucidating or reinforcing harmony (in Agrippina) and enhancing interrelations between elements (in Ode for St. Cecilia's Day), did often result in aesthetic improvement.
Works: Handel: Alexander Balus, "Fair virtue shall charm me" (2), Rinaldo, "Lascia ch'io pianga" (3), Saul, "In sweetest harmony" (3), Agrippina, "E un foco" (4-5), Laudate pueri Dominum, 1707 (5), The Triumph of Time, "Sharp thorns despising" (6), Ode for St. Cecilia's Day (7-10).
Sources: Handel: Apollo e Dafne, "Deh, lascia addolcire" (2), Il Tronfo del Tempo, "Lascia la spina cogl la rosa" (3), Imeneo, "Pieno il core" (3), Arresta il passo, "E un foco" (4-5), Laudate pueri Dominum, ca. 1706 (5), Terpsicore, "Hai tanto" (6); Gottlieb Muffat: Componimenti Musicali per il Cembalo (7-10). (TB)
Index classifications: 1700s
Jacobson, Joshua R. "A Possible Influence of Traditional Chant On a Synagogue Motet of Salomone Rossi." Musica Judaica 10 (1987-88): 52-58.
Prior Salomone Rossi research has suggested that the composer was in no way influenced by the music of the Jewish liturgy, but simply composed his music for the synagogue in the musical language of contemporary church music composers. However, an exception might well be made in the case of Rossi's motet Elohim hasivenu. The canto part to the motet shares a notable melodic likeness to the Elohim hashivenu chant used in the Italian rite. Rossi added melismas to the chant in order to tailor the melody to the motet style.
Works: Rossi: Elohim hasivenu.
Sources: Jewish Liturgy, Italian Rite: Elohim hasivenu, Psalm 80, verse 4 (52-56); Lasso: Cum essem parvulus (57). (EU)
Index classifications: 1600s
Jahnke, Sabine. "Materialien zu einer Unterrichtssequenz: Des Antonio von Padua Fischpredigt bei Orff-Mahler-Berio." Musik und Bildung 64 (November 1973): 615-22.
Index classifications: 1900s
Jammers, Ewald. "Der Vers der Trobadors und Trouvères und die deutschen Kontrafakten." In Medium aevum vivum: Festschrift für Walther Bulst, ed. Hans Robert Jauss, and Dieter Schaler, 147-60. Heidelberg: C. Winter, 1960.
Index classifications: Monophony to 1300
Jampol'skij, Izrail'. "Pamjati borcov-anti fasistov [To the memory of the anti-fascist fighters]." Sovetskaia muzyka (February 1976): 116-18.
Index classifications: 1900s
Jas, Eric. "Nicolas Gombert's Missa Fors Seulement: A Conflicting Attribution." Revue Belge de musicologie (1992): 163-77.
The long-held attribution of one of the ten Fors seulement masses to Nicholas Gombert is found questionable, as the same Mass is attributed to Jheronimus Vinders in a more reliable manuscript, the "Illustre Lieve Vrouwe Broederschap" in 's-Hertogenbosch ('s-HerAB 74). The Missa fors seulement employs literal cantus prius factus technique, which is uncommon in Gombert's other masses. On the other hand, Vinders's compositions use this technique often. Furthermore, the particular cantus prius factus practice in this Mass places the cantus firmus in the highest voice, which never occurs in the few cantus prius factus compositions that Gombert wrote. In contrast, Vinders's many pieces that use cantus firmus procedures feature this overt appropriation of the cantus firmus. Finally, other musical elements found in the Mass, such as cadential figures, ostinatos and homophonic textures do not correspond with Gombert's style.
Works: Gombert or Jheronimus Vinders: Missa Fors seulement (163-77).
Sources: Ockeghem: Fors seulement l'actente que je meure (163-64); Pipelare: Fors seulement l'attente que je meure (164-66); Févin: Fors seulement la mort, sans nul autre attente (164-66). (VLM)
Index classifications: 1500s
Jefferson, Alan. The Lieder of Richard Strauss. New York: Praeger Publishers, 1971.
Strauss's songs contain a variety of quotations and allusions to preexistent material. The musical borrowings are cited but are not included in separate lists. (FT)
Index classifications: 1800s, 1900s
Jeffery, Charles. "BWV 80: Ein' feste Burg ist unser Gott." In Johann Sebastian Bach: Four Chorale Cantatas: A Commentary, 9-46. Stratford-upon-Avon: Sapphire Book Club, 1980.
Luther's hymn Ein feste Burg falls into a category of many tunes with a revolutionary cause, from La Marseillaise to John Brown's Body, because it signifies the German Reformation and the religious triumph of Lutheranism. Indeed, Luther's hymn emerges from a vernacular tradition, not only in the translation of the Bible into German, but also in the poetic and musical union meant to appeal to the people in the entire congregation rather than to specific members of the choir and clergy. J. S. Bach, inspired by many Lutheran chorales, chose to exhibit this piece for a Festival of 1730, marking the Bicentenary of the Confession of Augsburg in which the Protestants declared the aims of the Lutheran church. Bach entitled his setting In Festo Reformationis, and he meant for it to represent his piety. Some movements, including the soprano and bass duet as well as the bass recitative, feature the relatively unembellished tune to evoke its military and unifying purposes. In a more complex setting, the chorale fantasia on verse one, Bach uses the tune as a cantus firmus embedded within a set of variations. In addition, later composers such as Mendelssohn and Roderick-Jones, like Bach, use the tune to invoke powerful religious sentiment, whereas Meyerbeer strips it of its religious content and uses it to accompany a ceremonial march.
Works: J. S. Bach: In Festo Reformationis, BWV 80 (16-47); Mendelssohn: Symphony No. 5 in D Minor, Reformation (46); Meyerbeer: Les Huguenots (46); Richard Roderick-Jones: Chanticleer (46).
Sources: Luther: Ein feste Burg (9-15). (KJL)
Index classifications: 1700s, 1800s, 1900s
Jeppesen, Knud. "Marcellus-Probleme." Acta Musicologica 16/17 (1944-45): 11-38.
Index classifications: 1500s
Jerger, Wilhelm. "Ein unbekannter Brief Johann Gottfried Walthers an Heinrich Bokemeyer." Die Musikforschung 7 (1954): 205-7.
[Cited in Falck 1979; letter discusses a "parody" (i.e., retexting) of a cantata.]
Index classifications: 1700s
Jeutner, Renate, ed. Peter Maxwell Davies. Bonn: Boosey and Hawkes, 1983.
Index classifications: 1900s
Johnson, Douglas. "1794-1795: Decisive Years in Beethoven's Early Development." Beethoven Studies 3, ed. Alan Tyson, 1-28. Cambridge: Cambridge University Press, 1982.
The years 1794-1795 represent a period of particularly intense growth in Beethoven's early compositional style. His encounter and subsequent training with Haydn was an important factor in this, and Beethoven's compositional development at this time can partly be explained as an attempt to absorb the impact of Haydn's London symphonies in particular, while at the same time establishing his own independence. Beethoven's use and reinterpretation of Haydn's style can be seen in three major areas: (1) the enrichment of texture through polyphony, (2) the coherent assimilation of remote tonal relationships into the tonal language, and (3) the substitution of organic procedures for mechanical ones. In order to illustrate this relationship, a detailed comparison is made between Haydn's Symphony No. 95 in C Minor and Beethoven's Trio Op. 1, No. 3 in the same key. (JSL)
Index classifications: 1700s
Johnson, O. W. "A Preliminary Study of the Parody Technique of Archangelo Crivelli." In Paul A. Pisk: Essays in His Honor, ed. John Glowacki. Austin: College of Fine Arts, University of Texas, 1966.
Index classifications: 1500s, 1600s
Johnson, Timothy A. "Chromatic Quotations of Diatonic Tunes in Songs of Charles Ives." Music Theory Spectrum 18 (Fall 1996): 236-61.
Ives quoted many diatonic melodies in his songs, which were then transformed chromatically. A process of intervallic alteration created contrasting diatonic links, offered more intervallic material for exploitation, and used a process called "refracted diatonicism." Ives exploits the connections between the various diatonic areas through the use of the tritone.
Works: Ives: The Innate (239-43, 257), The Camp-Meeting (244-45, 256), At the River (245-47, 256, 257), Nov. 2, 1920 (249-51, 256), Hymn (250-53, 255, 258), Old Home Day (256-60).
Sources: Asahel Nettleton or John Wyeth (attr.): Nettleton (240-43); William Bradbury: Woodworth (244-45); Robert Lowry: The Beautiful River (245-47); John Stafford Smith: The Star-Spangled Banner (249-51); William Howard Doane: More Love to Thee (250-53); William Steffe (attrib.): The Battle Hymn of the Republic (257-60). (FC)
Index classifications: 1900s
Jones, Andrew. Plunderphonics, 'Pataphysics, and Pop Mechanics: An Introduction to musique actuelle. Wembley, Middlesex, England: SAF Publishing Ltd., 1995.
Index classifications: 1900s, Popular
Jones, Nicholas. "Preliminary Workings: The Precompositional Process in Maxwell Davies's Third Symphony." Tempo, no. 204 (April 1998): 14-22.
The sketchbooks for Peter Maxwell Davies's Symphony No. 3 can be used to reconstruct the composer's precompositional workings. These sketchbooks illustrate the composer's use of sieving, pitch and durational matrices, and magic squares. The initial operation used is that of sieving, in which the pitch content of the borrowed material is reduced by selecting the portion to be used and omitting repeated pitches from the sieved set. A pitch matrix is a square in which each pitch of the sieved set is placed, much like a twelve-tone row matrix, horizontally across the top of the square. However, the set is also written vertically down the first column of the matrix. The square is then completed through transposition of each row in accordance with the first pitch of that row from the sieved set. To form the durational matrix, each note in the pitch matrix is numbered horizontally across each row, working left to right. Magic squares are mathematically generated squares which can correspond to celestial bodies; for example, Davies uses the Magic Square of Mercury in the Symphony No. 3. Each pitch from the pitch/durational matrix is transferred to the magic square according to its number. Davies subjects his borrowed material, a plainchant, to these manipulations to generate compositional material. Through abstract procedures, Davies creates a new musical work based on borrowed material, but without that material being evident.
Works: Davies: Symphony No. 3. (14-22).
Sources: Anonymous: Sancte Michael Archangele, defende nos in praelio (16, 18). (CMH)
Index classifications: 1900s
Jordan, W. D. "The Anonymous Cantus Firmus Mass Cycles in the Trent Codices." Ph.D. dissertation, Armidale, Australia, 1981.
Index classifications: 1400s
Josephson, Nord S. "Kanon und Parodie: Zu einigen Josquin-Nachahmungen." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 25, no. 2 (1975): 23-32.
Index classifications: 1400s, 1500s
Judd, Robert. "Cabezón, 'Malheur me bat,' and the Process of Musical Reference." Journal of the Lute Society of America 23 (1990): 49-62.
Cabezón's tiento on Malheur me bat shows his interest in treatment of selected musical materials rather than an interest in adhering to the complete form of the chanson. The chanson itself is noteworthy for its formal symmetry, its four points of imitation, its descending hexachord, and its density of motives. In Cabezón's setting, he is interested in showing the thematic connections between the chanson's first subject and Psalm Tone 4, which is incorporated at the end of the tiento as a cantus firmus. Cabezón alters the first subject of the chanson before the entrance of the cantus firmus to orient the tiento to mode 4. In the tiento, Cabezón makes imitation a priority by modifying and setting the first subject of the chanson in points of imitation. Cabezón also takes a descending motive from the opening of chanson and exploits it for the climax of the tiento. Besides the imitative treatment of the first subject and the development of two motives, Cabezón makes no reference to the two most prominent features of the chanson: its formal symmetry and its greater variety of motives.
Works: Cabezón: Tiento Quarto tono sobre Malheur me bat (56-57); Josquin: Missa Malheur me bat (58).
Sources: Malcort or Martini: Malheur me Bat (54-55). (JSB)
Index classifications: 1500s
Jung, Hans Rudolf. "Weimar: Münchhausen, Ballett von Rainer Kunad uraufgeführt." Musik und Gesellschaft 31 (1981): 239-40.
Index classifications: 1900s
Just, Martin. "Josquins Chanson Nymphes, napees als Bearbeitung des Invitatoriums Circumdederunt me und als Grundlage für Kontrafaktur, Zitat und Nachahmung." Die Musikforschung 43 (1990): 305-35.
Index classifications: 1400s, 1500s
Just, Martin. "Recomposition und Zitat in Stravinskijs Circus Polka." In Altes im Neuen: Festschrift Theodor Göllner zum 65. Geburtstag, ed. Bernd Edelmann and Manfred Hermann Schmid, 359-76. Tutzing: Schneider, 1995.
Index classifications: 1900s