MUSICAL BORROWING:

Kagan, Susan. Archduke Rudolph, Beethoven's Patron, Pupil, and Friend: His Life and Music. Stuyvesant: Pendragon Press, 1988.

A detailed study of Archduke Rudolph's Forty Variations on a Theme by Beethoven (1818-19) is provided on pp. 69-118. The variations represent the culmination of Rudolph's years of composition study with Beethoven, and they stand at the core of his oeuvre. In the spring of 1818 Beethoven wrote out a four-measure Liedthema, "O Hoffnung" (WoO 200), and sent it to Rudolph as an assignment in variations composition. Rudolph took to the assignment with great enthusiasm, producing a set of forty variations on the "O Hoffnung" theme. Beethoven kept a close eye on Rudolph throughout the writing process; his corrections and suggested revisions can be found on Rudolph's original manuscript. The first thirty-five variations are "strict" in that they bear a direct bar-by-bar structural correspondence with the original theme. But the last five of the set are "fantasia" variations, deviating greatly from the original in length and harmonic design. The final variation (no. 40) adopts the theme as the subject of a four-voice fugue that extends for ninety-six measures. The fugue especially reveals Rudolph's allegiance to the pianistic style of his teacher in many ways, including the lengthy passages in consecutive thirds and sixths, the long sustained trill under which new melodies emerge, and the unconventional pedaling in the final measures. (MSS)

Index classifications: 1800s

Kagel, Mauricio. Anlässlich der Schallplattenaufnahme von 'Ludwig van.' Bonn: Inter Nationes, 1970.

Index classifications: 1900s

Kallberg, Jeffrey. "Marketing Rossini: Sei lettere di Troupenas ad Artaria." Bolletino del Centro Rossiniano di Studi 1-3 (1980): 41-63. ltalian translation by Marco Spada, and letters in the original French.

Index classifications: 1800s

Kamien, Roger. "The Slow Introduction of Mozart's Symphony No. 38 in D, K. 504 'Prague': A Possible Model for the Slow Introduction of Beethoven's Symphony No. 2 in D, Op. 36." Israel Studies in Musicology 5 (1990): 113-30.

The slow introduction of Beethoven's Second Symphony bears a striking resemblance to Mozart's introduction to his symphony K. 504. A number of features are similar, including the chord progressions, the length (of the entire introduction, the second section, and the concluding pedal point), the enharmonic reinterpretations of preceding chromatic tones, the use of mode mixture in the second section, melodic details, and the rhythmic acceleration that prepares the opening Allegro. Yet Beethoven also departs from his Mozart model, for instance in composing a more symmetrical, shorter opening section. Beethoven's sketches for the symphony further indicate the existence of a link to Mozart's introduction.

Works: Beethoven: Symphony No. 2 in D Major, Op. 36.

Sources: Mozart: Symphony No. 38 in D Major, K. 504, Prague. (TB)

Index classifications: 1800s

Kantner, Leopold Maximilian. "Der Symbolwert von Archaismen untersucht an Opern der Klassik und Romantik." In De ratione in musica: Festschrift Erich Schenk zum 5. Mai 1972, ed. Theophil Antonicek, Rudolf Flotzinger, and Othmar Wessely, 156-86. Kassel: Bärenreiter, 1975.

Index classifications: 1700s, 1800s

Kaplan, Richard. "Exempli gratia: Mozart's Self-Borrowings: Two Cases of Auto-Theft." In Theory Only 6 (April 1982): 25-30.

The four-note motive found in the opening of the Jupiter Symphony (1, 7, 4, 3) is also present in several of Mozart's earlier works, including, the Credo of the F Major Missa Brevis, K.192, the Sanctus of the C Major Mass, K.257, The Bb Major Symphony, K.319, and the Divertimento, K.439b/4. Most importantly, this motive is found in the second movement of the G Minor Symphony, which was composed simultaneously alongside the Jupiter. A voice reduction reveals that the opening eight-bar period is actually an elaboration of the opening of the Jupiter. Mozart employs a similar style of borrowing in the Piano Quintet in G Minor, K.478.

Works: Mozart: Missa Brevis, K.192, C Major Mass, K.257, Bb Major Symphony, K.319, Divertimento, K.439b/4 (25), K.550 (25-26), K.551 (26), K.478 (28); Strauss: Ein Heldenleben (29); Wagner: Tristan und Isolde, Die Meistersinger (29); Mahler: Fifth Symphony (29); Brahms: C Minor Quartet, Op. 51/1, A Minor Quartet, Op. 51/2 (30). (DG)

Index classifications: 1700s

Karbusicky, Vladimir. Gustav Mahler und seine Umwelt. Darmstadt: Wissenschaftliche Buchgesellschaft, 1978.

Index classifications: 1800s, 1900s

Karbusicky, Vladimir. "Intertextualität in der Musik." Dialog der Texte: Hamburger Kolloquium zur Intertextualität, ed. Wolf Schmid, 361-98. Wien, 1983.

Index classifications: General

Karp, Theodore. "Borrowed Material in Trouvère Music." Acta Musicologica 34 (July/September 1962): 87-101.

Karp corrects misinterpretations in Hans Spanke's revised and enlarged edition of Reynaud's Bibliographie des altfranzösischen Liedes, Leiden, 1955. Spanke looked at too few sources and thus thought that the contrafactum Bon rois Thibaut, en chantant respondés was derived from the version of its model that is in the same manuscript (Chansonnier de l'Arsenal). Karp shows, however, that the contrafactum is based on the version of the model as it appears in the Manuscrit du Roi, which implies that in the Arsenal manuscript not the contrafactum but the model underwent changes. Such comparisons between both models and contrafacta from different manuscripts help to detect misreadings of copyists and to establish manuscript filiations. Trouvères drew on a large body of melodic formulas that may lead to the unjustified impression of borrowing. If, however, these formulas coincide over several verses and if the texts are structurally unrelated, we can be reasonably sure that one of the two melodies was borrowed.

Works: Thibaut de Navarre: Bon rois Thibaut, en chantant respondés (87-88, 90-91); Anonymous: Li chastelains de Couci ama tant (91-92); Hué de la Ferté: Je chantasse volentiers liement (92-93); Gautier d'Espinal or Châtelain de Coucy: Comencement de douce saison bele (93-94, 97); Blondel de Nesle: Bien doit chanter cui fine Amours adrece (96-97); Gace Brulé: Biaus m'est estés, quant retentist la breuille (96-97); Conon de Béthume: Ahi, Amours, con dure departie (97-99); Anonymous: Toi reclaim, vierge Marie (99); Anonymous: Ne chant pas que que nus die (99-100); Moniot d'Arras: Qui bien aime, a tart oublie (100); Châtelain de Coucy: La douce vois du rossignol salvage (100-1). (AG)

Index classifications: Monophony to 1300

Karp, Theodore. "Modal Variants in Medieval Secular Monophony." The Commonwealth of Music in Honor of Curt Sachs, ed. Gustav Reese and Rose Brandel, 118-29. Glencoe: The Free Press, 1964.

Index classifications: Monophony to 1300

Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge, 2001.

Film theory must include music as a "condition of identification," how film music is received and interpreted by the audience, taking into account the impact of the intertextual reference between different films which borrow the same music, as well as the emotional impact of less recognizable music on the listener. Film audiences develop "socio-historically specific musical languages," where all music becomes referential, especially through the use of quotation, allusion, and leitmotif. Musical quotation has become a staple form of contemporary film scores through "compilation," the use of a series of pre-recorded music tracks rather than a newly-composed film score, because previously recorded and distributed music may carry with it strong ties to time period, genre, or location. The concepts of "assimilating," describing borrowings that are closely aligned with dominant ideologies, and "affiliating," for uses that broaden the range of acceptable connections between the text and music, contribute to understanding how the identification of preexisting music by the audience member serves to form notions of cultural identities or stereotypes as part of character and or plot development within film.

Works: Charles Wolcott: score to Blackboard Jungle (50); Carmine Coppola: score to Apocalypse Now (50); Charles Strouse: score to Bonnie and Clyde (51); Dick Hyman: score to Moonstruck (51).

Sources: Max C. Freedman and Jimmy DeKnight: Rock Around the Clock (50); Wagner: "Ride of the Valkyres" from Die Walküre (50); Traditional: Foggy Mountain Breakdown (51); Puccini: "Che gelida manina" from La Boheme (51). (KEW)

Index classifications: 1900s, Film

Kaufmann, Harald. "Figur in Weberns erster Bagatelle." In Neue Wege der musikalische Analyse: Acht Beiträge von Lars Ulrich Abraham, Jürg Bour, Carl Dahlhaus, harald Kaufmann und Rudolf Stephan, ed. Lars Ulrich Abraham, 69-72. Berlin: Verlag Merseburger, 1967.

Index classifications: 1900s

Kay, Norman. "Shostakovich's 15th Symphony." Tempo, no. 100 (Spring 1972): 36-40.

Shostakovich achieves his life-long goal of writing a truly classical symphonic allegro in his Fifteenth Symphony. The work as a whole is characterized by economy: a quotation from Rossini's William Tell Overture forms the basis for all motives in the first movement. It is significant that Shostakovich chooses a model far removed from Viennese classicism from which to build this movement. The second movement quotes twice from the Eleventh Symphony, and the third introduces the infamous D-S-C-H motive. The final movement quotes Wagner's "Fate Motive" from Der Ring des Nibelungen as well as the rhythm of Siegfried's "Funeral March" from Gotterdämmerung. The quotation of the "Fate Motive" may be a back-handed comment on "poster-coloured" optimism, but becomes more personal when juxtaposed with the D-S-C-H motive. This progression from the Rossinian light-heartedness of the first movement to the gravity of the last exemplifies Shostakovich's affinity for tragedy. (RVT)

Index classifications: 1900s

Kearns, William K. "Horatio Parker 1863-1919: A Study of His Life and Music." Ph.D. dissertation, University of Illinois, 1965.

Index classifications: 1800s, 1900s

Kearns, William K. Horatio Parker, 1863-1919: His Life, Music, and Ideas. Composers of North America, No. 6. Metuchen, N.J., and London: Scarecrow Press, 1990.

Index classifications: 1800s, 1900s

Keller, Hans. "Mozart and Boccherini: A Supplementary Note to Alfred Einstein's Mozart: His Character--His Work." The Music Review 8 (November 1947): 241-47.

Mozart borrowed the opening theme of Boccherini's String Quartet in C several times. The most extensive borrowing occurs in the last movement of Mozart's Piano Sonata in D major, K. 576, where he uses the Boccherini sequence as the incipit and basis of the principal subject. The sequence itself offers numerous possibilities for treatment. Other references are present in the first movement of Mozart's Piano Sonata in C minor, K. 457, the finale of his Piano Concerto in E flat major, K. 449, and the finale of the Sonata for Violin and Piano in D major, K. 306. Mozart was immeasurably more original in "stealing" Boccherini's theme than Boccherini was in inventing it, producing some of his greatest works while using a mediocre model. (MP)

Index classifications: 1700s

Kelly, Kevin O. "The Songs of Charles Ives and the Cultural Contexts of Death." Ph.D. diss., University of North Carolina at Chapel Hill, 1988.

Index classifications: 1800s, 1900s

Kemp, Ian. "Romeo and Juliet and Roméo et Juliette." In Berlioz Studies, ed. Peter Bloom, 37-79. Cambridge: Cambridge University Press, 1992.

Like the Symphonie fantastique, Roméo et Juliette includes borrowings from earlier works. A passage of recitative in the Roméo "Introduction" resembles a motif in the "Méditation" from the 1829 Prix de Rome cantata Cléopâtre. Berlioz himself explained the inspiration behind the Cléopâtre music, indicating that he intended the "Méditation" for a Roméo et Juliette of some sort. A melody from the withdrawn Ballet des ombres, in particular from the section referring to an invitation to a dance, appears with the same meaning in "La Reine Mab," at the place where Mab is about to take the young girl to the ball. The Larghetto oboe melody and the dance theme from "Roméo seul" derive from the cantata Sardanapale (1830), with which Berlioz actually won the Prix de Rome. From this cantata survive only a fragment of the finale "Incendie" and Peter Bloom's reconstruction of the text. The fragment contains the two themes mentioned above, but the Larghetto melody likely also formed the basis of the "Cavatine" and the allegro theme the basis of the "Bacchanale" that preceded the "résumé-cum-coda" fragment. In both the cantata and "Roméo seul" the themes are associated with arousing and intensifying desire.

Works: Berlioz: Roméo et Juliette (53-59). (AG)

Index classifications: 1800s

Kemp, Walter Herbert. "Dueil angoisseus and Dulongesux." Early Music 7 (October 1979): 520-21.

Index classifications: 1400s

Kennedy, Michael. Richard Strauss. London: Dent, 1976.

Index classifications: 1800s, 1900s

Kennedy, Michael. Strauss Tone Poems. London: British Broadcasting Corporation, 1984.

Strauss's tone poems contain a variety of quotations from preexistent sources. There is a separate list of self-quotations in Ein Heldenleben on pp. 46-47. (FT)

Index classifications: 1800s, 1900s

Kenney, Sylvia Wisdom. "Contrafacta in the Works of Walter Frye." Journal of the American Musicological Society 8 (Fall 1955): 182-202.

Index classifications: 1400s

Kephart, Carolyn. "An Unnoticed Forerunner of The Beggar's Opera." Music and Letters 61 (July/October 1980): 266-71.

It is suggested that the Duke of Newcastle's play, The Triumphant Widow (1674), may be a significant forerunner to John Gay's The Beggar's Opera. Apparently The Triumphant Widow was an unusual play for its time, and it introduced a number of ballad opera characteristics (such as provincial comedy, or abundance of song and spoken verse) that may have influenced the creation of The Beggar's Opera. Similarities between plots, characters, tone, and structure in these two works are discussed.

Works: John Gay: The Beggars' Opera. (LAR)

Index classifications: 1600s

Keppler, Philip Jr. "Some Comments on Musical Quotation." The Musical Quarterly 42 (October 1956): 473-85.

Allusions to well-known tunes or passages may (1) deliver a concealed comment (as in a theatrical "aside") and (2) depend on the listener's knowledge of the source if the comment is to be effective or even noted. Several categories can be differentiated: incidental thematic quotation, topical thematic reference (to tunes such as the Marseillaise and to less familiar tunes), and quotation of vocal works in which the text is of significance. Commentarial quotation is distinguished from self-quotation (here with reference to Mahler, Rossini, and Beethoven) since in the latter knowledge of the source is of no significance. Commentarial quotation is a predominantly Romantic phenomenon and fits in with the desire to be exclusive and the tendency to refer to things outside the work of art.

Works: Elgar: Enigma Variations (473); Saint-Saëns: Carnival of Animals (473), Danse Macabre (474); Tchaikovsky: 1812 Overture (474); Schumann: Die beiden Grenadieren (474); Weber: Jubilee Overture (474), Battle Symphony (474); Brahms: Song of Triumph (474), Academic Festival Overture (474); Mendelssohn: Reformation Symphony (474); Wagner: Kaisermarsch (474); Berlioz: Symphonie fantastique (474); Liszt: Totentanz (474), Dante Symphony (474); Mussorgsky: Songs and Dances of Death (474); Rachmaninoff: Isle of the Dead (474), Variations on a Theme by Paganini (474); Schelling: A Victory Ball (475); Wagner: Parsifal (476), Die Meistersinger (477), "Wesendonck" Songs (477), Siegfried Idyll (478); Puccini: Il Tabarro (479); Mozart: Don Giovanni (480), The Marriage of Figaro (480); Strauss: Le Bourgeois Gentilhomme (481), Capriccio (482); Sterndale Bennett: Études Symphoniques, Op. 13 (483).

Sources: Mendelssohn: Calm Sea and Prosperous Voyage (473); Berlioz: Dance of the Sylphs (473); Rouget de Lisle: La Marseillaise (474); Arne: God Save the King (474); Luther: Ein feste Burg; Anonymous: Gaudeamus Igitur (474), Dies Irae (474); Rossini: "Una voce poco fa" from Barber of Seville (475), "Di tanti palpiti" from Tancredi (475-76); Wagner: Tristan und Isolde (477-78); Strauss: Death and Transfiguration (480); Martín: Una Cosa Rara (480); Sarti: I Due Litiganti (480); Marschner: The Templar and the Jewess (483). (DCB)

Index classifications: General, 1800s, 1900s

Kerman, Joseph. The Masses and Motets of William Byrd. Berkeley: University of California Press, 1981.

Index classifications: 1500s, 1600s

Kerman, Joseph. "Verdi's Use of Recurring Themes." In Studies in Music History: Essays for Oliver Strunk, ed. Harold Powers, 495-510. Princeton: Princeton University Press, 1968.

Verdi often utilized recurring themes, most notable in Rigoletto, Aïda, and Otello. The use of a recurring motive (a term semantically preferable to Erinnerungsmotiv (reminiscence theme) provides a dramatic focal point, as opposed to an identification motive used for characterization. Verdi recalls earlier music for dramatic purposes, often reusing the same harmonic constructions. The recalling of a kiss in La Traviata, La Forza del destino, and Aïda is represented both by similar melodies and by a harmonic shift from minor to major mode.

Works: Verdi: Rigoletto (300), Aïda (503), Otello (505). (EH)

Index classifications: 1800s

Kermode, Mark. "Twisting the Knife." In Celluloid Jukebox: Popular Music and the Movies Since the 50s, ed. Jonathan Romney and Adrian Wootton, 8-21. London: British Film Institute, 1995.

Popular music in film can serve to inspire and enliven directors and accompany, counterpoint, boost, or ironically comment upon their visual work. Popular music can create an instant period location, establishing time and place with just a few choice chords, haunting vocal phrases, or distinctive drumbeats. More than any other art form, popular music is a disposable, transient product that reflects, mimics, and occasionally shapes the American zeitgeist through film music. American popular music can serve as a film's memory, tapping into a nostalgic past or fixing the film firmly in the present. In the film score of Richard Brooks's Blackboard Jungle, which borrowed Bill Haley and the Comets' Rock Around the Clock, and Frank Tashlin's score for The Girl Can't Help It, which included music from Gene Vincent and the Blue Caps, Eddie Cochran, Julie London, Fats Domino, and Little Richard, Brooks and Tashlin were successful in capturing the essence of the 1950s teenage experience by incorporating the emerging genre of Rock and Roll. Contemporary popular music has also been used to help tell the story. Dennis Hopper's Easy Rider used Steppenwolf's Born to be Wild to epitomize the new breed of youth rebellion in the 1970s. John Badham's Saturday Night Fever featured the Bee Gees, Spike Lee's Do the Right Thing included rap and blues artists, and Cameron Crowe's Singles showcased Seattle 1990s grunge bands, all utilizing contemporary artists to place the film in the "now." John Carpenter's sound track to Christine, based on Stephen King's novel, references the nostalgic 1950s through the radio of the 1958 Plymouth Fury. American films based on the Vietnam War rely heavily on the political sentiments expressed via 1970s Rock and Roll; Francis Ford Coppola's Apocalypse Now opens ominously with The Door's The End, while Mark Rydell's For the Boys has Bette Midler on screen singing The Beatles' In My Life as her son is killed in battle. Film scores often develop a symbiotic relationship between pop music and film, where the music borrowed for a film is re-released as a marketing scheme for the movie.

Works: Richard Brooks: score to Blackboard Jungle (9); Bobby Troup: songs for The Girl Can't Help It (9); Dennis Hopper: score to Easy Rider (12); Barry Gibb, Maurice Gibb, Robin Gibb, and David Shire: songs for Saturday Night Fever (12); Spike Lee: score to Do the Right Thing (12); Cameron Crowe, et al.: score to Singles (12); Mike Nichols: score to The Graduate (12); Michelangelo Antonioni: score to Blowup (12), Zabriskie Point (12); John Carpenter: score to Christine (13); Carmine Coppola: score to Apocalypse Now (16); Philip Kaufman: score to The Wanderers (16); Dave Grusin and Diane Warren: score to For the Boys (17).

Sources: Max C. Freedman and Jimmy DeKnight: Rock Around the Clock as performed by Bill Haley and the Comets (9); Mars Bonfire (Dennis Edmonton): Born to be Wild as performed by Steppenwolf (12); Paul Simon: Mrs. Robinson (12); Paul Simon and Art Garfunkel: Scarborough Fair (12); Jeff Beck, Chris Dreja, Jimmy Page, and Keith Relf [The Yardbirds]: Stroll On (12); David Gilmour, Nick Mason, Roger Waters, Richard Wright [Pink Floyd]: Come in Number 51, Your Time is Up (12); Traditional: Sugar Babes as performed by The Youngbloods (12); Jerry Garcia and Robert Hunter [The Grateful Dead]: Dark Star (12); The Doors: The End (16); Bob Crewe and Bob Gaudio: Walk Like a Man as performed by the Four Seasons (16); Lee Feldman, Jerry Goldstein, and Richard Gottehrer: My Boyfriend's Back as performed by The Angels (16); Dion DiMucci and Ernie Maresca: Runaround Sue, The Wanderer (16); Bob Berryhill, Jim Fuller, and Ron Wilson [The Surfaris]: Wipe Out (16); Acker Bilk and Robert Mellin: Stranger on the Shore as performed by Mel Martin (16); John Lennon and Paul McCartney: In My Life (17). (KEW)

Index classifications: 1900s, Film

Kibby, Marj, and Karl Neuenfeldt. "Sound, Cinema and Aboriginality." In Screen Scores: Studies in Contemporary Australian Film Music, ed. Rebecca Cole, 66-77. Sydney: Australian Film Television and Radio School, 1998.

The didjeridu is misleadingly used on the soundtrack of Burke and Wills (1986) to suggest an Aboriginal presence, by borrowing the distinct timbre of the instrument but discarding the free rhythmical form of aboriginal music. The timbre of the didjeridu, electronically synthesized and symmetrically organized in meter, is used in film scores aimed at western audiences to signify a single element of Australian Aboriginal culture as complex histories of "otherness," networks of beliefs, and the relationships between peoples and lands. Borrowing the distinct timbre and register of the didjeridu in Australian cultural representations provides for white Australians and Western cinematic audiences a spurious notion of Australian Aboriginal musics, which are primarily vocal musics accompanied by drum and whistle.

Works: Peter Sculthorpe: score to Burke and Wills (66); Guy Gross: score to Adventures of Priscilla, Queen of the Desert (69); J. Peter Robinson: music for Encino Man (69); Martin Armiger, William Motzing, and Tommy Tycho: music for Young Einstein (72); Ira Newborn: score to Ace Ventura, Pet Detective (72); Bill Conti: score to The Right Stuff (73). (KEW)

Index classifications: 1900s, Film

Kiesewetter, Peter. "Meyerbeer-Paraphrasen." In Meilensteine eines Komponistenlebens, ed. G. Speer and H.J. Winterhoff, 49-55. Kassel: Bärenreiter, 1977.

An analysis of Günter Bialas's Meyerbeer-Paraphrasen for orchestra (1970) demonstrates the composer's technique and his ability to infuse it with twentieth-century ideas. References are made to melodic, harmonic, and structural material from Meyerbeer's opera Le Prophète within a tightly organized six-part formal scheme. Bialas intended his piece to be understood as a concert fantasy about the historical kind of paraphrase, a "skeptical apotheosis" of the nineteenth-century model.

Works: Günter Bialas: Meyerbeer-Paraphrasen. (AW)

Index classifications: 1900s

Kinderman, William. "Bachian Affinities in Beethoven." Bach Perspectives 3 (1998): 81-108.

Beethoven was first influenced by Bach during his Bonn years, and that influence grew and became more profound in his late works. In several instances a specific piece by Bach is intimated as Beethoven's model, yet that influence rarely amounts to straightforward borrowing. For instance, the C minor episode in the finale of Beethoven's "Grande Sonate" in E flat Major, Op. 7 recalls Bach's Prelude in C minor from The Well-Tempered Clavier, Book I. This stylistic allusion, which involves a relentless ostinato that stresses turn figures, is incorporated by Beethoven as a dramatic element. The finale of Beethoven's Piano Sonata in F Major, Op. 54, refers to Bach's Fugue in E Minor from WTC I. Both sonatas evoke the toccata-like idiom of the Bach works, yet the model is transformed by Beethoven and assimilated into his dramatic framework. Beethoven's Diabelli Variations (notably Nos. 29 and 31) include textural and melodic resemblances to Bach's Goldberg Variations, and are best construed as an homage to Bach.

Works: Beethoven: "Grande Sonate" in E flat Major, Op. 7 (85-87), Cello Sonata in A Major, Op. 69 (88), Piano Sonata in A flat Major, Op. 110 (88, 97), Diabelli Variations, Op. 120 (101-3).

Sources: Bach: Well-Tempered Clavier, Book I, Prelude in C Minor (85-87), "Es ist vollbracht" from St. John Passion (88), Well-Tempered Clavier, Book I, Prelude in E flat Minor (97, 101), Goldberg Variations (101-3). (TB)

Index classifications: 1700s, 1800s

Kinderman, William. "Beethoven's Symbol for the Deity in the Missa Solemnis and the Ninth Symphony." 19th-Century Music 9 (Fall 1985): 102-18.

Beethoven's use of specific sonorities in the Missa Solemnis (Credo and Benedictus) and in the Ninth Symphony (Finale). Most significant is an Eb Major sonority first heard at the start of the Credo. This sonority takes on a symbolic meaning in both the Credo and Benedictus since it is associated with texts which evoke celestial regions. This symbolic association holds in the Ninth as well. The musical ideas involved are also evident in the String Quartet in Eb Major, Op. 127, which is the final work in which these ideas are treated. These referential sonorities, then, bind together three of Beethoven's late works. (DCB)

Index classifications: 1800s

Kinderman, William. "The Evolution and Structure of Beethoven's Diabelli Variations." Journal of the American Musicological Society 35 (Summer 1982): 306-28.

Study of the sketches for Beethoven's Diabelli Variations reveals that the variations were composed in two stages, before and after the composition of the Piano Sonata Op. 111. In view of this, the melodic shape of Diabelli's theme can be seen as a clear model for that of the Arietta of Op. 111, while at the same time the Arietta influences the structure and character of the variations composed after the sonata. This is especially true in the case of the final, thirty-third variation; by almost literally quoting the Arietta, this causes the entire set to constitute both a musical and numerical "postscript" to the 32 sonatas.

Works: Beethoven: Piano Sonata in C Minor, Op. 111, Thirty-Three Variations on a Waltz by Diabelli, Op. 120. (JSL)

Index classifications: 1800s

Kinderman, William. "Hans Sachs's 'Cobbler's Song,' Tristan, and the 'Bitter Cry of the Resigned Man.'" Journal of Musicological Research 13, nos. 3-4 (1993): 161-84.

Wagner's Die Meistersinger makes several allusions to Tristan und Isolde. These begin furtively in the second act, gradually come near the surface, and culminate in Act III, scene 4. The allusions include explicit quotations of the Tristan chord and a passage originally sung by King Marke, a relationship in key, orchestration and voice leading that is reminiscent of the love music in Tristan, and an adaptation of larger formal structure from the prelude to Tristan. Analysis of the above, as well as the "Cobbler's Song" from Act II, helps reveal the complexity and meaning of Hans Sachs's inner conflict and resignation.

Works: Wagner: Die Meistersinger von Nürnberg (161-83).

Sources: Wagner: Tristan und Isolde (161, 170, 172-83). (TB)

Index classifications: 1800s

King, Alec Hyatt. "Mountains, Music, and Musicians." The Musical Quarterly 31 (October 1945): 395-419.

When nature became a source of inspiration in literature in the nineteenth century, composers began to write musical works using the mountains as a theme. This was accomplished either with a programmatic title or with the use of a folk tune. Different versions of the Ranz des Vaches, a type of improvisatory tune played on the alphorn to call the cattle home at the end of the day, were quoted by many composers and served as a model for others desiring to evoke an alpine scene. In addition to the many pieces cited within the text and listed below, a list of works by lesser-known composers using the mountains as inspiration or setting is given at the conclusion of the article.

Works: Beethoven: Symphony No. 6, fifth movement (403), Six Variations facile pour le clavecin ou Harpe (Sur un air Suisse) (403); Berlioz: "Scene aux champs" from Symphonie fantastique (402); Grétry: Overture to Guillaume Tell (400); d'Indy: Symphonie Cévenole (413-14); Liszt: "Vallée d'Obermann" (409), "Improvisata sur le ranz des Vaches de Ferdinand Huber" (409), "Nocturne sur le chant montagnard d'Ernest Knop" (409), and "Rondeau sur le Ranz des Chèvres de Ferdinand Huber" (409) from Album d'un voyageur, and Grande Fantaisie sur la Tyrolienne de l'opera "La Fiancée" (transcription of Auber) (409); Mendelssohn: Two early unpublished symphonies (408); Meyerbeer: Song on the Appenzell Ranz des Vaches (400); Rossini: Overture to William Tell (400); Schumann: Manfred (406); Richard Strauss: Don Quixote (415); Wagner: Act III of Tristan und Isolde (411); Webbe: Song on the Appenzell Ranz des Vaches (400); Weigl: Song on the Appenzell Ranz des Vaches (400). (NKT)

Index classifications: 1900s

King, Alec Hyatt. . "The Melodic Sources and Affinities of Die Zauberflöte." The Musical Quarterly 36 (April 1950): 241-58.

Mozart's Die Zauberflöte is related to earlier compositions by Mozart himself and to those by other composers. The opera may be considered as a "pot-pourri." The examples of the "melodic sources and affinities" are virtually endless. An explanation for the extent to which the opera presents a synthesis of musical ideas may involve consideration of the processes of musical creation and musical psychology. Such a consideration can only be speculative as of yet, but it may be noted that Mozart, like Brahms, was steeped in tradition. Furthermore, Mozart possessed an extremely retentive musical memory. Most of the borrowings were probably unconscious. Evidence in the string quartet autographs indicates that Mozart sometimes found it necessary to refer to earlier works as he began a new one; this habit of drawing on earlier works may have become subconscious. Die Zauberflöte is drawn from "the pool of memory and experience" and demonstrates the unity of life and art in the creative genius.

Works: Mozart: Die Zauberflöte.

Sources: Mozart: König Thamos (242, 249, 254), Idomeneo (243-46, 249, 251, 254), Symphony No. 38 in D Major, K. 504, Prague (243), Allegro for Piano, K. 498a (243), Piano Sonata in B-flat Major, K. 570 (243), Le nozze di Figaro (244, 251, 254) Violin Sonata in F Major, K. 377 (244), String Quintet in G Minor, K. 516 (244), Piano Sonata in C Major, K. 279 (244); Haydn: Mondo della Luna (244, 252), Piano Sonata in B-flat Major, Hob. XVI:42 (244); Gluck: Die frühen Gräber (244); Gassmann: I Viaggiatori ridicoli (245); Benda: Ariadne (245); Wranitzky: Oberon (245, 249); Mozart: Die Entführung aus dem Serail (245, 248) String Quintet in E flat Major, K. 614 (246), German Dances, K. 602 (246), Piano Concerto No. 11 in F Major, K. 413 (246); Gluck: Alceste (246); Philidor: Bucheron (246); Mozart: Symphony No. 36 in C Major, K. 425 (247); Die Katze lässt das Mausen nicht (247); Mozart: Divertimento in E flat Major, K. 252 (248), Piano Sonata in A Minor, K. 310 (248), La Finta semplice (248), Don Giovanni (248), Sonata in F Major for Two Pianos, K.497 (249), Concerto in E flat Major for Two Pianos, K. 365 (249), Serenade in E flat Major, K. 375 (249), Als Luise, K. 520 (249), Violin Sonata in E flat Major, K. 481 (249); Gluck: Iphigénie en Tauride (249); Haydn: Symphony in B flat Major, Hob. I:85, La Reine (250); Mozart: Piano Concerto in E flat Major, K. 271 (251), Violin Concerto in A Major, K. 219 (251), String Trio in E flat Major, K. 563 (251), Piano Sonata in E flat Major, K. 281 (251), Clarinet Quintet in A Major, K. 581 (252), Die Maurerfreude, K. 471 (253), Piano Sonata in E flat Major, K. 282 (254), Divertimento in F Major, K. 253 (254). (DCB)

Index classifications: 1700s

Kippenberg, Burkhard. Der Rhythmus im Minnesang: Eine Kritik der Literar- und Musikhistorischer Forschung mit einer Übersicht über die Musikalischen Quellen. Münchner Texte und Untersuchungen zur deutschen Literatur des Mittelalters, no. 3. Munich: C. H. Beck'sche Verlagsbuchhandlung, 1962.

Index classifications: Monophony to 1300

Kirby, F. E. "Beethoven's Pastorale Symphony as a Sinfonia Caracteristica." The Musical Quarterly 56 (October 1970): 605-23. Reprinted in The Creative World of Beethoven, ed. Paul Henry Lang, 103-21. New York: W. W. Norton, 1971.

Among the various pastoral elements in Beethoven's 6th symphony are the use of a genuine ranz des vaches melody, characteristic Austrian rhythms, bagpipe sounds, and bird calls. (MM)

Index classifications: 1800s

Kirchmeyer, Helmut. "Vom Sinn und Unsinn musikliterarischer Schlagwortzitate: Eine Studie zum Thema 'Demagogie der Informationen.'" Neue Zeitschrift für Musik 122 (1961): 490-96.

This article discusses the deep symbolic ramifications of musical quotations and leitmotivs. According to Kirchmeyer, quotations and leitmotivs possess demagogical powers or properties. He feels that composers of the German school such as Mahler, Schoenberg, and particularly Wagner were highly aware of these demagogical powers and properties, and consequently exploited them through the use of quotations and/or leitmotivs in their compositions. Kirchmeyer discusses the way in which these three German composers strengthen the symbolic meanings of their works through the use of quotations and leitmotivs. (LAR)

Index classifications: General, 1800s, 1900s

Kirkendale, Warren. L'aria di Fiorenza, id est Il ballo del Gran Duca. Florence, 1972.

Index classifications: 1600s

Kirkendale, Warren. "New Roads to Old Ideas in Beethoven's Missa Solemnis." The Musical Quarterly 56 (October 1970): 665-701. Reprinted in The Creative World of Beethoven, ed. Paul Henry Lang, 163-99. New York: W. W. Norton, 1971.

In the Missa Solemnis, Beethoven uses numerous rhetorical gestures to express the meaning of the text. Some of the gestures were conventional in his day, such as a static motive with which to begin the Kyrie, used at least as far back as Benevoli in 1628. Known to have been studying Handel's Messiah while he composed the Missa Solemnis, Beethoven is indebted for the Katabasis (lowering of the elevated host) in his Agnus Dei to "He shall feed his flock," and for a fugato subject to the "Hallelujah Chorus," both from Messiah.

Works: Beethoven: Missa Solemnis. (RCL)

Index classifications: 1800s

Kirkendale, Warren. "Ciceronians versus Aristotelians on the Ricercar as Exordium, from Bembo to Bach." Journal of the American Musicological Society 32 (Spring 1979): 1-44.

The fundamental change in the style of the ricercar can be explained by considering analogies to rhetorical literature; the early improvisatory ricercar fits Aristotle's description of a proem while the late "motetic" ricercar follows the plan of the exordium described by Cicero. Early ricercars resemble Aristotle's proem in their preludial function, how they establish the mode of a following motet or madrigal, and how they are used for the tuning of the instrument (as an orator would "tune" the soul of his listeners by attracting their attention). Late ricercars, on the other hand, seem to be modeled after Cicero's exordium, which is divided into the principium and the insinuatio. The plain and direct principium makes the listener attentive while the more subtle insinuatio steals into the listener's mind indirectly. The musical implications of Cicero's principium and insinuatio are realized in ricercars by Andrea Gabrieli and Girolamo Cavazzoni featuring intonazioni which begin with full and plain chords, and imitative ricercars consisting of voices creeping in quietly one by one while imperceptibly increasing the number of voices. In this light, the two ricercars in J. S. Bach's Musical Offering can be seen as being modeled after Cicero's twofold distinction as well as Frescobaldi's toccata (principium) and ricercar (insinuatio) in his Fiori musicali.

Works: Andrea Gabrieli: Intonazione del primo tono (26); Girolamo Cavazzoni: Ricercar primo (26-27); Hieronimo Parabosco: Ricercar XVIII (27); J. S. Bach: Musical Offering (39-40).

Sources: Frescobaldi: Fiori musicali (41). (JSB)

Index classifications: 1500s, 1600s, 1700s

Kirkendale, Warren. "More Slow Introductions by Mozart to Fugues of J. S. Bach?" Journal of the American Musicological Society 17 (Spring 1964): 43-65.

A group of fugue arrangements for string trios and quartets, known as K. 405 and K. 404a by Mozart, and the anonymous arrangements of the Berea/"Kaisersammlung" manuscript are based on the fugues from J. S. Bach's Well-Tempered Clavier. The authorship of these arrangements, along with some of their anonymous slow introductions, has always been in question. A historical investigation indicates that Mozart is the most probable author. Around 1782, Mozart regularly attended Baron Gottfried Van Swieten's Sunday chamber music sessions, in which only Handel's and Bach's music were performed. Mozart arranged Bach's fugues for these events. It was also around that time that Mozart studied Bach's fugues with enthusiasm. Mozart is also known for adding slow introductions to arrangements of his own compositions; examples include the piano fugue K. 426, later arranged for strings (K. 546), and many other works. Further studies of the manuscript copy, musical style, texture, and harmonic language make even a stronger case for Mozart's authorship. Mozart's involvement in these pieces cannot be denied until another composer is proven to be the author.

Works: Mozart: Five Fugues K. 405 (44, 46-47, 50-53), Four Preludes for String Trios K. 404a (44, 46-57, 62-65), Berea/"Kaisersammlung" manuscript (47-57, 60-63).

Sources: J. S. Bach: Fugues from The Well-Tempered Clavier, Book II, in C Minor (44, 47), D Major (44, 46, 51), E flat Major (44, 46, 52, 53), D sharp Minor (44, 50, 51), and E Major (44, 52). (TC)

Index classifications: 1700s

Kirkpatrick, John. "Ives as Prophet." In South Florida's Historic Ives Festival 1974-1976, edited by F. Warren O'Reilly, 61-63. Coral Gables, Fla.: University of Miami at Coral Gables, 1976.

Index classifications: 1900s

Kirkpatrick, John. "Ives, Charles E(dward)." In The New Grove Dictionary of Music and Musicians, 1980. Revised as "Ives, Charles (Edward)," with additions to the work-list by Paul C. Echols, in The New Grove Dictionary of American Music, 1986.

Index classifications: 1800s, 1900s

Kirkpatrick, John. Liner notes to recording of Charles Ives: Five Violin Sonatas, by Daniel Stepner, violin, and John Kirkpatrick, piano. Tinton Falls, N.J.: Musical Heritage Society MHS 824501, 1982.

Index classifications: 1900s

Kirkpatrick, John. Notes to the songs, in the recording Charles Ives: The 100th Anniversary. New York: Columbia M4 32504, 1974.

Index classifications: 1800s, 1900s

Kirkpatrick, John. A Temporary Mimeographed Catalogue of the Music Manuscripts and Related Materials of Charles Edward Ives 1874-1954. New Haven: Library of the Yale School of Music, 1960; reprint, 1973.

Index classifications: 1800s, 1900s

Kirkpatrick, John. "Critical Commentary." In Charles E. Ives, Trio for Violin, Violoncello, and Piano, edited by John Kirkpatrick. New York: Peer International, [1984].

The second movement is a medley of popular tunes and fraternity songs. The finale reworks Ives's The All Enduring, composed for the Yale Glee Club. The finale closes with Toplady ("Rock of Ages"), and a theme heard earlier in the movement may be a cryptic variant of that hymn tune. (JPB)

Index classifications: 1900s

Kirkpatrick, John. "Comparison of Sources." In Charles E. Ives, The Pond, 8. Hillsdale, N.Y.: Boelke-Bomart, 1973.

The final version of The Pond ends with a brief reference to "Taps." But two earler drafts features longer, more complete quotations, shown in examples. Kirkpatrick suggests that, in shortening the quotation in his revision, "Ives apparently decided to be more reticent or cryptic."

Works: Ives: The Pond (JPB)

Index classifications: 1900s

Klassen, Johannes. "Die Parodiemesse bei Palestrina." Ph.D. diss., University of Bonn, 1950.

Index classifications: 1500s

Klassen, Johannes. "Das Parodieverfahren in der Messe Palestrinas." Kirchenmusikalisches Jahrbuch 38 (1954): 24-54.

Index classifications: 1500s

Klassen, Johannes. "Untersuchungen zur Parodiemesse Palestrinas." Kirchenmusikalisches Jahrbuch 37 (1953): 53-63.

Index classifications: 1500s

Klassen, Johannes. "Zur Modellbehandlung in Palestrinas Parodiemessen." Kirchenmusikalisches Jahrbuch 39 (1955): 41-55.

Index classifications: 1500s

Klement, Udo. "Oratorium Das Friedensfest; oder; die Teilhabe von Günter Kochan." Musik und Gesellschaft 31 (April 1981): 213-16.

Index classifications: 1900s

Klenz, William. "Brahms, Op. 38; Piracy, Pillage, Plagiarism or Parody?" The Music Review 34 (February 1973): 39-50.

Brahms's Cello Sonata in E Minor is so closely patterned on the E minor cello sonata of Bernhard Romberg that it could be considered a parody, using the sixteenth-century definition of the term. Besides the obvious connection of the key, the choice of opus number and other musical details suggest that Brahms modeled his sonata on that of Romberg. Both utilize similar tempo markings and harmonic progressions. Combinations of Romberg's first and third movement themes appear throughout Brahms' composition, and much of the original accompaniment also appears in reworked form. Some of the more contrapuntal passages seem to derive from Bach. It is possible that Brahms's familiarity with Romberg's work is due to the influence of his friend Gänsbacher, who might have pressed the composer into accompanimental duties. Perhaps Brahms's cello sonata, patterned so closely on Romberg's, was the result of improvisations over Romberg's accompaniment and a subsequent reworking of its ideas.

Works: Brahms: Cello Sonata in E Minor. (EH)

Index classifications: 1800s

Klier, Karl M. "Haydns Thema aus dem Andante der 'Symphonie mit dem Paukenschlag.'" Völkische Musikerziehung [Braunschweig] 6 (1940): 55-58.

[Cited in Schroeder 1982.]

Index classifications: 1700s

Klusen, Ernst. "Gustav Mahler und das böhmisch-mährische Volkslied." In: Bericht über den Internationalen Musikwissenschaftlichen Kongress Kassel 1962, ed. Georg Reichert and Martin Just, 246-51. Kassel: Bärenreiter, 1963.

Index classifications: 1800s, 1900s

Knapp, Alexander. "The Jewishness of Bloch: Subconscious or Conscious?" Proceedings of the Royal Musical Association 97 (1970-71): 99-112.

Bloch turned to his Jewish identity for inspiration in part because the latent hostility toward Jews in his native Geneva left him ostracized from that city's musical life. His incorporation of Jewish materials in his music ranges from direct quotations, which are consciously intended, to materials associated with Jewish music but not directly quoted from any particular source, which are less consciously recalled. The latter include Jewish cantillation modes, less specifically Jewish exotic scales allowing for melodic skips of an augmented second or fourth, and rhapsodic, quasi-improvised passages.

Works: Bloch: Baal Shem Suite, Abodah, Suite Hébraïque, Israel Symphony, Avodath Hakodesh, Schelomo, Voice in the Wilderness. (DL)

Index classifications: 1900s

Knapp, John Merrill. "Handel's Il trionfo del tempo: 1707, 1737, and 1757." American Choral Review 24 (April/July 1982): 39-47.

Index classifications: 1700s

Knapp, Raymond. "The Finale of Brahms's Fourth Symphony: The Tale of the Subject." 19th-Century Music 13 (Summer 1989): 3-17.

The ostinato subject that concludes Brahm's Fourth Symphony has connections to the Baroque tradition of the ostinato bass. However, the subject also refers to the structural coherence of the symphony as a whole, especially in the use of chains of thirds. Brahms thus had other models including Mozart, Beethoven, Schubert, Schumann, and Rubenstein. As a theme in and of itself, the ostinato more closely resembles Buxtehude; as evidence of compositional process, it shows strong links to Beethoven, not only his variation works but also his Fifth Symphony.

Works: Brahms: Fourth Symphony (3-17); Beethoven: Third Symphony (9).

Sources: J. S. Bach: Nach dir, Herr, verlanget mich, BWV 150 (3-6), Chaconne for solo violin (6-8); Buxtehude: E-Minor Ciacona (6, 12), D-Minor Passacaglia (6-8); François Couperin: B-Minor Passacaille (8); Beethoven: Variations for Piano, Op. 35 (9), C-Minor Variations (9), Third Symphony (9-10), Fifth Symphony (10), Hammerklavier Sonata (10); Mozart: G-Minor Symphony (10-11, 15). (FC)

Index classifications: 1800s

Knapp, Raymond. "Brahms and the Anxiety of Allusion." Journal of Musicological Research 18 (1998): 1-30.

While Brahms's relationship to his predecessors, in particular Beethoven, seems to warrant the application of Harold Bloom's theory of the anxiety of influence, it is perhaps more accurate to think of Brahms's anxiety as the result of tensions created by the expectations of his audience. Brahms realized that his audience would receive and judge his works in comparison to those of his revered predecessors. Therefore, he was faced with the task of creating music that was similar enough to his predecessors to be well-received by his audience while still maintaining the status of originality. Thus, Brahms foregrounded original, non-referential music while cultivating subtle and buried musical allusions that evoked his predecessors. These allusions served to invoke the music of Brahms's predecessors on a subconscious level while still allowing Brahms's music to be seen as highly original. It is this careful balancing act, not his feelings towards Beethoven and other composers, that created the anxiety for Brahms.

Works: Brahms: Symphony No. 1 in C Minor (10-16), Symphony No. 3 in F Major (16-25).

Sources: Beethoven: Symphony No. 5 in C Minor (11-15), Symphony No. 9 in D Minor (11-16), Symphony No. 3 in E flat Major, Eroica (19, 21, 23-24); Haydn: Symphony No. 97 in C Major (16-17, 19, 23-24); Schubert: String Quintet in C Major (16-17, 20); Schumann: Symphony No. 1 in B flat Major, Spring (18, 20, 24-25), Symphony No. 3 in E flat Major, Rhenish (18, 21, 24-25); Richard Wagner: Tannhäuser (19-20, 23-24). (SLF)

Index classifications: 1800s

Knaus, Herwig. "Die Kärntner Volksweise aus Alban Bergs Violinkonzert." Musikerziehung 23 (January 1969-70): 117-18.

Index classifications: 1900s

Kneif, Tibor. "Collage oder Naturalismus?: Anmerkungen zu Mahlers 'Nachtmusik I.'" Neue Zeitschrift für Musik 134 (1973): 623-28.

Mahler's innovations in instrumentation required the use of nonmusical instruments in a collage technique, characterized by sounds in free, non-metric patterns that are set against the remaining instruments. 'Nachtmusik I' of the Seventh Symphony employs a cowbell as a nonprogrammatic layer of the texture. Although this style resembles that of Ives, Mahler had no Ivesian connection. However, he undoubtedly borrowed this style from selected textures in Beethoven's Leonore Overture and Meyerbeer's Le Prophète, but he did not use direct quotations. (FT)

Index classifications: 1900s

Kneif, Tibor. "Zur Semantik des musikalischen Zitats." Neue Zeitschrift für Musik 134 (1973): 3-9.

A consideration of hermeneutics compounds Lissa's list of methods of citation by proposing the necessity of composer intent in order to defend a possible quotation. The character of the citation is defined by the connection between the composer and the listener, not between the composer and the quoted material. Reasons for parody are found in Bach and Schubert examples, "contrast citation" in Debussy, Beethoven, and Bartók examples, and self quotation in Wagner, Strauss, and Mozart examples. Contemporary composers, such as Cage and Stockhausen, show their affinity for the character of earlier works through citation, even while they vocally reject such styles. (BJT)

Index classifications: General, 1700s, 1800s, 1900s

Kneipel, Eberhard. "Wir klären Fachbegriffe Zitat/Collage." Musik in der Schule 35, no. 4 (1984): 100-4.

Index classifications: General, 1900s

Knepler, Georg. "Ein Instrumentalthema Mozarts." Beiträge zur Musikwissenschaft 18 (1976): 163-73.

[On themes in the String Quartet in D Major, K. 499, borrowed from La nozze di Figaro, composed earlier the same year.]

Index classifications: 1700s

Knepler, Georg. "Mozart als Herausforderung." Beiträge zur Musikwissenschaft 33 (1991): 111-25.

[On the use in the String Quartet in B flat Major, K. 458, of themes from Die Entführung aus dem Serail.]

Index classifications: 1700s

Knight, Ellen. "The Evolution of Loeffler's Music for Four Stringed Instruments." American Music 2 (Fall 1984): 66-83.

Music for Four Stringed Instruments was first composed in August, 1917, as a tribute to Victor Chapman, the first American aviator killed in World War I and the son of a friend of the composer. Before its publication in 1923, it underwent several revisions, and in publishing the work Loeffler withheld the written program and dedication to Chapman's memory that accompanied the 1919 premiere performance. The revisions emphasize the thematic role of the plainchant melody Resurrexi in the first movement. This chant also appears in the second movement, but there the central role is played by Victimae paschali. The programmatic, episodic third movement also employs Resurrexi, but the climactic statement is of a motive from a plainchant antiphon used in the funeral service. The pervasiveness of the Resurrexi music suggests a spiritual interpretation: an affirmation of spiritual victory over earthly sorrow. (DL)

Index classifications: 1900s

Kobayashi, Yoshitake. "Universality in Bach's B Minor Mass: A Portrait of Bach in His Final Years." Bach 24, no. 2 (1993): 3-25.

In the closing movement of his B Minor Mass, Bach parodies the "Gratias agimus tibi" from earlier in the work, instead of drawing on the Kyrie material, as was the more common practice. Friedrich Smend criticized Bach for expressing the final prayer with music from the Gloria, arguing that the Kyrie music would have been more appropriate. Yet Bach's approach is highly convincing. For Bach, the final "Dona nobis pacem" is not a prayer for peace calling for Kyrie material, but an expression of gratitude, "a thanksgiving not only for the completion of his opus ultimum but beyond that for his entire oeuvre." Bach did not borrow here to save time. Contrary to Schering's conclusion that the "strangely unsettled" "Benedictus" originally must have belonged to another text, Bach probably sketched the movement in lighter ink and then traced it with darker ink, which would indicate a careful conception rather than a parody.

Index classifications: 1700s

Kolodin, Irving. "Berio, Rochberg, and the Musical Quote." Saturday Review 2 (February 8, 1975): 36, 38.

Luciano Berio's well-justified and innovative use of the third movement of Mahler's Second Symphony in the middle movement of his Sinfonia has given rise to other uses of borrowed music which are neither innovative or justified. Many more recent pieces using the technique of collage, like George Rochberg's Music for a Magic Theater, are not destined to survive because they do not represent a significant contribution by the composer.

Works: Mozart: Don Giovanni (36); Beethoven: Diabelli Variations (36); Berio: Sinfonia (36); Ian Hamilton: Alastor (38); Offenbach: Tales of Hoffmann (36); Rochberg: Music for a Magic Theater (38); Richard Strauss: Le Bourgeois Gentilhomme (36); Stravinsky: Le Baiser de la Fée (38), Jeux de Cartes (38), Pulcinella (38); Tippett: Symphony No. 3 (38); Wagner: Die Meistersinger (36). (RCL)

Index classifications: 1700s, 1800s, 1900s

Kolodin, Irving. The Interior Beethoven: A Biography of the Music. New York: Alfred A. Knopf, 1975.

Index classifications: 1800s

Konold, Wulf. "Mendelssohn und Brahms: Beispiele schöpferischer Rezeption im Licht der Klaviermusik." In Brahms-Analysen: Referate der Keiler Tagung 1983, ed. Friedhelm Krummacher and Wolfram Steinbeck, 81-90. Kassel: Bärenreiter, 1984.

Index classifications: 1800s

Köppel, Robert. "Die Paraphrase. Ein Beitrag zur Geschichte der virtuosen Klaviertechnik." Ph.D. diss., University of Vienna, 1936.

Index classifications: 1800s

Kordes, Gesa. "Self-Parody and the 'Hunting Cantata,' BWV 208: An Aspect of Bach's Compositional Process." Bach 22 (Fall/Winter 1991): 35-57.

Writers addressing the question of Bach's self-parodies have stressed practical concerns, such as the validity of the music to a new text, time pressure, or work economy. Bach's re-use of three movements from the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208, involves a considerable amount of recomposition. In most cases, the metrical and rhyme scheme of the new texts are completely different, and in the case of Man singet mit Freuden vom Sieg, BWV 149, the affect of the text changes from one of pastoral sweetness to a joyful celebration of victory in battle. Although Bach found creative solutions for the problems posed by these self-borrowings, he did not use borrowing as a matter of convenience. Rather, the urge to elaborate all possibilities within a given musical idea was central to Bach's compositional process.

Works: Johann Sebastian Bach: Also hat Gott die Welt geliebt, BWV 68 (39-52), Trio, BWV 1040 (48-49), Man singet mit Freuden vom Sieg, BWV 149 (52, 56-57).

Sources: Johann Sebastian Bach: Was mir behagt, ist nur die muntre Jagd, BWV 208 (38-57), Also hat Gott die Welt geliebt, BWV 68 (48). (FC)

Index classifications: 1700s

Korsyn, Kevin. "Towards a New Poetics of Musical Influence." Music Analysis 10 (March-July 1991): 3-72.

The ideas of literary critic Harold Bloom may serve as the model for a new theory of mapping musical influence. Bloom's theory (as first proposed in The Anxiety of Influence in 1973) rests on the notion that the true subject matter of poetry is poetry itself; every poem is seen as a "misreading" or "misprision" of a precursor poem or poems. Bloom divides poets into two categories, "strong" and "weak." What differentiates a "strong" poet is his ability to confront his anxiety of influence; a strong poet is one who wrestles with his great precursors to achieve his own originality. In appropriating Bloom's idea for music, compositions become "relational events" rather than "closed and static entities." The model is tested through an interreading of two compositions--Brahms's Romanze, Op. 118, No. 5, and Reger's Träume am Kamin, Op. 143, No. 2--with respect to their essential precursor, Chopin's Berceuse, Op. 57. Reger is shown to have weakly "misread" the Berceuse; although Reger places himself in direct competition with Chopin by overtly adopting the compositional strategy of the precursor (a series of increasingly florid variations over a one-measure ostinato figure, a figure that is virtually identical in both pieces), he fails to go beyond Chopin and forge an original meaning of his own. In contrast, Brahms's Romanze is shown to be a "strong" misreading of the Berceuse. Bloom's six "revisionary ratios" (clinamen, tessera, kenosis, daemonization, askesis, and apophrades) are evoked to demonstrate how Brahms is able to echo Chopin and yet go beyond his precursor, forging his own originality. For example, Bloom defines clinamen as the "initial swerve from the precursor," akin to the rhetorical trope of irony. The harmonic strategy of Chopin's Berceuse is one of extreme tonal stability, being composed almost entirely over a tonic-dominant ostinato; in making his "initial swerve" from Chopin, Brahms departs markedly from this strategy by setting his series of variations (the music most directly reminiscent of the Berceuse) as the D major middle section within a larger ternary design, framed by contrasting music in F major. Brahms's alternate strategy in the Romanze exemplifies Bloom's clinamen: "the framing action of the F major music 'ironizes' the Berceuse reminiscence of the middle section so that it says one thing ('tonal stability') and means another ('tonal instability')."

Works: Brahms: Romanze, Op. 118, No. 5; Reger: Träume am Kamin, Op. 143, No. 2.

Sources: Chopin: Berceuse, Op. 57. (MSS)

Index classifications: General, 1800s

Korsyn, Kevin. "Directional Tonality and Intertextuality: Brahms's Quintet Op. 88 and Chopin's Ballade Op. 38." In The Second Practice of Nineteenth-Century Tonality, ed. William Kinderman and Harald Krebs, 45-83. Lincoln: University of Nebraska Press, 1996.

Brahms used Chopin's Ballade, Op. 38 as a model for the second movement of his Quintet, Op. 88. Both pieces experiment with directional tonality (beginning and ending in different keys) and show structural correspondences, such as polarity between contrasted thematic segments that extend tonality, tempo, texture, and mood. In both works the second tonality is anticipated by local tonicizations of it in the initial sections; both pieces end with the opening theme, but in the second key. In addition, Brahms's Op. 88 reshapes his earlier Saraband and Gavotte in A Major (ca. 1855). Analyzing that multifaceted process of borrowing, using Harold Bloom's theory of poetic influence and Mikhail Bakhtin's concept of dialogism, shows that it resulted in a dialogic piece, which is tonally more radical than Chopin's Ballade.

Works: Brahms: String Quintet in F major, Op. 88 (48-55, 60-79).

Sources: Chopin: Ballade Op. 38 (47-55,59-68, 71-79); Brahms: Saraband in A, Gavotte in A Major (45-46, 68-70). (TB)

Index classifications: 1800s

Kosovsky, Robert. "Bernard Herrmann's Radio Music for the Columbia Workshop." Ph.D. diss., City University of New York, 2000.

Index classifications: 1900s

Kovarik, Edward. "Mid-fifteenth Century Polyphonic Elaborations of the Plainchant Ordinarium Missae." Ph.D. dissertation, Harvard University, 1973.

Index classifications: 1400s

Kowalke, Kim H. "For Those We Love: Hindemith, Whitman, and 'An American Requiem.'" Journal of the American Musicological Society 50 (Spring 1997): 133-74.

Hindemith, upon becoming a citizen of the United States, began working on what is considered his only nationalistic, American piece: When Lilacs Last in the Dooryard Bloom'd: A Requiem "For Those We Love." Like many other American composers living during World War II, Hindemith was drawn to the poetry of Walt Whitman as the essence of American nationalism. Within this composition, however, there are allusions to the Germanic tradition that Hindemith had left. There are many similarities between Hindemith's Whitman Requiem and Brahms's Ein deutsches Requiem, such as elaborate choral fugues, funeral marches, an orchestral prelude that uses an extended pedal point in the bass, almost identical orchestration, tempo indications, and motivic material. Other than the allusion to Brahms, Hindemith uses only two other musical borrowings within the Requiem. The first is an offstage trumpet playing "Taps" during a militaristic march. The last borrowing is found in the eighth movement, entitled "For Those We Love." Previous scholarship has only found parallels in the Whitman text with the text of the popular Episcopal hymn "For Those We Love." However, by looking deeper into the history of this hymn text, one finds it used in another hymnal but set to "Yigdal," a traditional Jewish melody sung either before or after the service proper on Rosh Hashanah and Yom Kippur, which is note-for-note the same as the tune used by Hindemith in the eighth movement of the Requiem. Hindemith takes the quotation one step further by using many of the same rhythmic values, the same key, and the same shift to the major mode for the final cadence as the traditional Jewish melody.

Works: Hindemith: When Lilacs Last in the Dooryard Bloom'd: A Requiem "For Those We Love" (133-74); Gaza, traditional Jewish melody from The Hymnal of the Protestant Episcopal Church in the United States of America 1940 (148-56).

Sources: Brahms: Ein deutsches Requiem (142-45); Yigdal (155-61). (MDA)

Index classifications: 1900s

Krabbe, Wilhelm. "Zur Frage der Parodien in Rist's Galathea." In Festschrift Hermann Kretzschmar zum 70. Geburtstage, ed. Max Friedlaender, Henri Hinrichsen, Max Seiffert, and Johannes Wolf, 58-61. Leipzig: C.F. Peters, 1918; reprint, Hildesheim: Georg Olms Verlag, 1973.

Index classifications: 1600s

Kraemer, Uwe. "Das Zitat bei Igor Strawinsky." Neue Zeitschrift für Musik 131 (1970): 135-41.

Lists many folk songs from which Stravinsky quotes in his music. Stravinsky claimed that he was not always conscious of the sources from which he quoted, but there is convincing evidence that his compositional process was deliberate.

Works: Stravinsky: L'Oiseau du feu (135), Petrouchka (135), Le Sacre du Printemps (136), Les Noces (138), Jeu de Cartes (138), Circus Polka (139), Greeting Prelude (139), Four Norwegian Impressions (Moods) (140). (FT)

Index classifications: 1900s

Kraft, Günther. "Zur Entstehungsgeschichte des 'Hochzeitsquodlibets' (BWV 524)." Bach-Jahrbuch 43 (1956): 140-54.

Index classifications: 1700s

Kramer, Lawrence. "Romantic Meaning in Chopin's Prelude in A Minor." 19th-Century Music 9 (Fall 1985): 145-55.

Chopin's Prelude in A Minor is related to recurrent patterns evident in the music and literature of the early nineteenth century. Among these patterns is that of self-quotation and Romantic representations of memory. Thus Shelley in Adonais refers to his own Ode to the West Wind, and Schubert in the String Quartet in A Minor refers to his own music to Rosamunde and to his own setting of Schiller's Die Götter Griechenlands: "Schöne Welt, wo bist du?" (This particular pattern is not, however, evident in the Chopin Prelude.)

Works: Schubert: String Quartet in A Minor (146).

Sources: Schubert: Rosamunde (146), Schöne Welt, wo bist du?, D. 677 (146). (DCB)

Index classifications: 1800s

Kramer, Lawrence. "The Ganymede Complex: Schubert's Songs and the Homoerotic Imagination." In Franz Schubert: Sexuality, Subjectivity, Song, 93-128. Cambridge: Cambridge University Press, 1998.

Examining Schubert's lied Ganymed (1817), set to Goethe's poem of 1774, and comparing it to an earlier setting of the same poem by Johann Reichardt (1794) reveals that the latter was Schubert's model. Both settings use directional tonality, ending in a key a third lower than their initial key; both have their crucial division on the same words ("wohin? / hinauf!"); and both have comparable cadential melismas on the last two words. Yet Schubert, surmounting the limitations of his model, realizes the erotic atmosphere of the text by accelerating the tempo and by using lyrical, increasingly flourishing, melismas.

Works: Schubert: Ganymed (118-28).

Sources: Johann Reichardt: Ganymed (127-28). (TB)

Index classifications: 1800s

Krämer, Ulrich. "Quotation and Self-Borrowing in the Music of Alban Berg." Journal of Musicological Research 12 (1992): 53-82.

Despite Adorno's interpretation of Berg's quotation practice as deliberately disjunct, Berg's quotations are painstakingly incorporated into the surrounding musical context, as demonstrated by an analysis of his use of the Carinthian folk song in his Violin Concerto. Berg's quotations fall into four categories: (1) Quotations from Schoenberg, especially Schoenberg's early works; (2) thematic references to works from different stylistic spheres which Berg incorporates into his own idiom; (3) quotations in Wozzeck and Lulu that function as ironic commentary on the stage action; (4) quotations that form an integral part of the surrounding motivic network. The folk-song quotation in the Violin Concerto is an example of the last type. Berg's self-borrowings are largely from a collection of early sonata fragments, dating from 1908 to 1909, and are also of the fourth category. The quotations may work simultaneously on a variety of levels: as the sort of technical problem Berg requires as a creative stimulus; as representative of Berg's desire to retrieve musical ideas important to the evolution of his musical language; and as reminiscences of his period of study with Schoenberg. There is detailed discussion of these self-borrowings as they appear in Wozzeck and the String Quartet, Op. 3. The article's appendix offers a detailed list of Berg's works in which borrowings have been identified and the sources of the borrowings.

Works: Berg: Four Songs, Op. 2, String Quartet, Op. 3, Wozzeck, Chamber Concerto, Lyric Suite, Lulu, Violin Concerto. (DL)

Index classifications: 1900s

Krasnow, Carolyn. "Fear and Loathing in the 1970s: Race, Sexuality and Disco." Stanford Humanities Review 3, no. 2 (Fall 1993): 37-45.

In the late 1960s rock began to appropriate values more closely resembling the classical tradition, such as virtuosity, creativity, and originality. One of the complaints leveled against newly emergent disco by proponents of rock was disco's perpetual use of pre-recorded music as the basis of new dance tracks. Reusing existing music was seen as an affront to rock's newly won creativity and individuality and represented a collective approach to music found frequently in African-American musical traditions. Because of its use of musical borrowing, therefore, disco represented a challenge to white hegemony in the production of popular culture. (FMM)

Index classifications: 1900s, Popular

Kravitt, Edward F. "Mahler's Dirges for his Death: February 24, 1901." The Musical Quarterly 64 (July 1978): 329-53.

Mahler's Kindertotenlieder, written in the aftermath of the nearly fatal hemorrhage of February 24, 1901, may be considered dirges for his own death. The work is thus autobiographical to an important extent. Several musical connections between the Kindertotenlieder cycle and other of Mahler's works are noted. The phrase at mm. 12-15 in "Nun will die Sonn' so hell aufgehn" is used in the Funeral March movement of the Fifth Symphony. The melodic idea at the beginning of "Nun seh' ich wohl" is reshaped to become the principal idea of the Adagietto of the Fifth Symphony and of the song "Ich bin der Welt abhanden gekommen." Connections exist between the cycle and the Sixth Symphony as well. Important musical relationships exist between the first and last songs of the cycle (p. 345).

Works: Mahler: Symphony No. 3 (330-31), Symphony No. 5 (348), Symphony No. 6 (348, 353).

Sources: Mahler: Kindertotenlieder. (DCB)

Index classifications: 1900s

Kreider, J. Evan. "The Keyboard Parody Canzonas by Giovanni Cavaccio in Sudori Musicali (1626)." Musica disciplina 33 (1979): 139-47.

The title Sudori Musicali indicates that the works within the collection are new settings of works previously published for instrumental ensembles. The revisions include changes in pitch level, mensuration, texture, thematic material, and form. Cavaccio's canzonas testify to his mastery of the Renaissance techniques of parody. A number of parody canzonas are considered, and the article includes a table of both the canzonas of Sudori Musicali and their models. (MM)

Index classifications: 1600s

Krellmann, Hanspeter. "Mit Collage und Kurzwelle: Mauricio Kagels und Karlheinz Stockhausens Beiträge zum Beethoven-Jahr." Fono forum 15 (September 1970): 608-9.

Index classifications: 1900s

Krenek, Ernst. "Parvula Corona Musicalis." Bach 2 (October 1971): 18-31.

A testimony and dedication precedes the facsimiles of Krenek's Parvula Corona Musicales (1950), notes to each movement, and the derived twelve-tone rows with which he worked. The work was prompted by the idea of creating a musical symbol of a wreath to be placed at the monument of Bach, the master. The work also derives twelve-tone series from Bach's Art of the Fugue, three of Beethoven's last quartets, and Wagner's Tristan. (JP)

Index classifications: 1900s

Krings, Alfred. "Die Bearbeitung der gregorianischen Melodien in der Messkomposition von Ockeghem bis Josquin des Prez." Kirchenmusikalisches Jahrbuch 35 (1951): 36-53.

Index classifications: 1400s, 1500s

Krings, Alfred. "Untersuchungen zu den Messen mit Choralthemen von Ockeghem bis Josquin des Pres." Ph.D. diss., University of Cologne, 1951.

Index classifications: 1400s, 1500s

Kropfinger, Klaus. "Bemerkungen zu Schönbergs Händel-Bearbeitungen." In Bericht über den 2. Kongress der Internationalen Schönberg Gesellschaft: Die Wiener Schule in der Musikgeschichte des 20. Jahrhunderts, ed. Rudolf Stephan and Sigrid Wiesmann. Wien: Elisabeth Lafite, 1986.

Index classifications: 1900s

Krummacher, Friedhelm. "Parodie, Umtextierung and Bearbeitung in der Kirchenmusik vor Bach." Svensk Tidskrift för Musikforskning 53 (1971): 23-48.

Index classifications: 1600s, 1700s

Krylora, Larisa. "Funkcii citaty v muzykal'nom tekste [The function of quotation in music]." Sovetskaja muzyka (August 1975): 92-97.

Index classifications: General

Kube, Michael. "Paul Hindemiths Jazz-Rezeption: Stationen einer Episode." Musiktheorie 10 (1995): 63-72.

Index classifications: 1900s

Kuhac, Franjo S. Josip Haydn i hrvatske narodne popievke. Zagreb, 1880.

[Cited in Schroeder 1982.]

Index classifications: 1700s

Kuhlmann, Georg. Die zweistimmigen französischen Motetten des Kodex Montpellier, Faculté de médecine H 196 in ihrer Bedeutung für die Musikgeschichte des 13. Jahrhunderts. Literarhistorisch-musikwissenschaftliche Abhandlungen, vols. 1 and 2. Würzburg: K. Trilttsch, 1938.

Index classifications: Polyphony to 1300

Kühn, Clemens. "Bernd Alois Zimmermann: Photoptosis; Ein Blick auf das Zitat in der Kunst der Gegenwart." Musik und Bildung 6 (February 1974): 109-15.

Index classifications: 1900s

Kühn, Clemens. Die Orchesterwerke Bernd Alois Zimmermanns: Ein Beitrag zur Musikgeschichte nach 1945. Hamburg: Verlag der Musikalienhandlung Karl Dieter Wagner, 1978.

Index classifications: 1900s

Kühn, Clemens. Das Zitat in der Musik der Gegenwart: Mit Ausblicken auf bildende Kunst und Literatur. Hamburg: Verlag der Musikalienhandlung Karl Dieter Wagner, 1972.

Index classifications: 1900s

Kuhnen, Wolfgang. "Die Botschaft als Chiffre: Zur Syntax musikalischer Zitate in der ersten Fassung von Bruckners Dritter Symphonie." Bruckner-Jahrbuch (1991-93): 31-43.

[The many citations from himself and from Wagner in the first version of Bruckner's Third Symphony reveal a clear message in the work.]

Index classifications: 1800s

Kunze, Stefan. "Ironie des Klassizismus: Aspekte des Umbruchs in der musikalischen Komödie um 1800." In Die stilistische Entwicklung der italienischen Musik..., ed. Friedrich Lippmann, 72-98. Laaber: Arno Volk-Laaber Verlag, 1982.

Index classifications: 1700s, 1800s

Kurthen, Wilhelm. "Ein Zitat in einer Motette Palestrinas." Kirchenmusikalisches Jahrbuch 29 (1934): 50-53.

Index classifications: 1500s

Kyriazis, Maria. "Die Cantus firmus-Technik in den Messen Obrechts." Ph.D. diss., University of Berne, 1952.

Index classifications: 1400s

Lacasse, Serge. "Intertextuality and Hypertextuality in Recorded Popular Music." In The Musical Work: Reality or Invention?, ed. Michael Talbot, 35-58. Liverpool: Liverpool University Press, 2000.

In his book Palimpsestes: la littérature au second degree, Gérard Genette addresses intertextual and hypertextual relationships between texts utilizing a theoretical framework that could be enlightening if applied to recorded popular music. Genette defines intertextuality as the "actual presence of a text within another." Thus, the techniques of quotation and allusion fall into this category. Genette goes on to define hypertextuality as the modeling of a new text (the hypertext) on a previous text (the hypotext). Parody, which is defined as the alteration of subject matter while retaining style characteristics, and its converse travesty, in which the subject matter is retained but the style is altered, fall under this category. Also, included in the category of hypertextuality are pastiche, covering, copy, translation, instrumental cover, and various types of remixes. An additional distinction in the categorization of intertextual relationships is the differentiation between borrowings with a "sameness of spelling" or autosonic borrowing (e.g., sampling) and those with a "sameness of sounding" or allosonic borrowings (e.g., a performed allusion or quotation).

Works: John Bonham, Puff Daddy (Sean Combs), Mark Curry, Jimmy Page, and Robert Plant: Come With Me (39-40); Kurt Cobain, Nirvana, and Weird Al Yancovic: Smells Like Nirvana (41-42); Noel Gallagher: Wonderwall as performed by Mike Flowers (42); Arthur 'Big Boy' Crudup: That's All Right as performed by Elvis Presley (46).

Sources: John Bonham, Jimmy Page, and Robert Plant [Led Zeppelin]: Kashmir (40); Kurt Cobain and Nirvana: Smells Like Teen Spirit (41-42); Noel Gallagher [Oasis]: Wonderwall (42); Arthur 'Big Boy' Crudup: That's All Right (46). (SLF)

Index classifications: 1900s, Popular

Landon, H. C. Robbins. "Sinfonia Lamentatione (No. 26)." In The Symphonies of Joseph Haydn, 285-93. London: Rockliff & Universal Edition, 1955.

Haydn's Symphony No. 26 in D minor--the Sinfonia Lamentatione--was not composed for the Nativity, as a title given later, the "Christmas Symphony," falsely indicates. The title 'Passio et Lamentatio' on the oldest manuscript (at the Abbey of Herzogenburg) shows that the work was composed for the Easter week of 1766. For the first movement, Haydn took as a model an old drama of Passion music whose "Christus" motif is in turn based on an ancient Lamentation chant. This "Christus" melody from Passion music occurs in the second subject of the first movement exposition, given to the second violin and the first oboe. The second movement is thematically linked to the first by using the same "Christus" Lamentation chant, also in the second violin and the first oboe, this time as the principal subject in the form of a chorale prelude. The Passion music that Haydn used in this symphony was well known to his audience, and the purpose of the symphony must have been apparent.

Works: Haydn: Symphony No. 26 in D Minor, Sinfonia Lamentatione (287-93). (TC)

Index classifications: 1700s

Larson, Randall D. "Reused Music." In Music from the House of Hammer: Music in the Hammer Horror Films 1950-1980, 15-16. Lanham, MD: The Scarecrow Press, 1996.

Musical self-borrowing was a popular method of scoring in America's Universal Pictures, which during the 1940s and 1950s often scored entire films (Erle C. Kenton: House of Dracula, Jack Arnold: Revenge of the Creature) with little more than tracked cues from their music library. Nevertheless, Hammer only sporadically reused their music tracks; fewer than a dozen Hammer films contain credited reused cues. Choosing to reuse music often arose from deadline pressures and budgetary pressures.

Works: Humphrey Searle: score to The Abominable Snowman of the Himalayas (15); Benjamin Frankel: score to The Curse of the Werewolf (15). (KEW)

Index classifications: 1900s, Film

Larson, Steve. "Dave McKenna's Performance of 'Have You Met Miss Jones?'" American Music 11 (Fall 1993): 283-315.

Jazz pianist Dave McKenna's recording of Rodgers and Hart's Have You Met Miss Jones? reveals clever improvisational strategies, procedures, and devices. For instance, throughout the multiple improvised choruses McKenna slowly expands in register, creating a sense of large-scale unity. In one instance, McKenna also borrows melodic material from the song How to Handle a Woman by Lerner and Loewe. McKenna also uses a "polymetric riff" and when returning to the "head," his restatement of the melody recollects salient features from the improvisation. McKenna's insertions of fragments of the melody within his improvised choruses reveal that in this case, the performer does not improvise simply over harmonic changes, but also keeps the original tune in mind.

Works: Rodgers/Hart: Have You Met Miss Jones? as performed by Dave McKenna.

Sources: Rodgers/Hart: Have You Met Miss Jones?; Lerner/Loewe: How to Handle a Woman (293). (EU)

Index classifications: 1900s, Jazz

LaRue, Jan. "Significant and Coincidental Resemblance Between Classical Themes." Journal of the American Musicological Society 14 (Summer 1961): 224-34.

The stylistic homogeneity of 18th-century music poses difficulties when one tries to assert resemblances between themes. Unless we can demonstrate that the composer expressly intended for there to be a specific thematic connection between his music and another piece, our claims of a definite resemblance between two Classical themes are usually greeted with considerable skepticism. When faced with a lack of concrete biographical evidence, we should therefore subject the themes to a rigorous screening process before we can reasonably assert that one theme consciously resembles another. The first criterion is statistical background: while the resemblance between two themes A and B might be striking, if it can be shown that there are also several other themes that equally resemble A and B then the significance of the original relationship is greatly reduced. The second criterion is structural similarity, which must consider at least three aspects: (1) melodic contour; (2) rhythmic function; and (3) tonal and harmonic background. This screening process is put to the test in works by J. S. Bach, J. C. Bach and Haydn, proving that seeming thematic resemblances between works or between movements of the same work are coincidental. The article concludes with examples from two symphonies--one by Rosetti (DTB XII/I) and Haydn's Symphony No. 103--in which a thematic resemblance between a slow introduction and the following fast movement is strong enough to assert a definite intent on the part of the composer.

Works: Haydn: Symphony No. 103 (234); Francesco Antonio Rosetti: Sinfonia in Dis (234). (MSS)

Index classifications: 1700s

Laubenthal, Annegrit. "Observations on Some Polyphonic Sequences in Trent 87 and Trent 92: Dufay, Roullet, and a Piece Ascribed to 'Maioris.'" In I codici musicali trentini: Nuove scoperte e nuovi orientamenti della ricerca, ed. Peter Wright, 93-105. Trento: Provincia Autonoma di Trento, Servizio Beni Librari e Archivistici, 1996.

Index classifications: 1400s

Lawn, Richard, and Jeffrey Hellmer. "Rhythm Changes: The Classic Jazz Model." In Jazz Theory and Practice, 203-19. Los Angeles: Alfred Publishing, 1993.

Jazz performers and composers adopted the chord structure of George Gershwin's 1930 song I Got Rhythm both as a useful improvisational vehicle and as supporting harmony for newly composed melodies. Gershwin's chord structure, known as "the Rhythm Changes," was subjected to a variety of harmonic alterations by subsequent users, including adding chords between two original chords, changing minor chords into major, and substituting new chords for selected originals. The resulting variety of versions of "the Rhythm Changes" is so great that there is no "standard" version used by a large number of jazz performers or arrangers. Sonny Rollins's Oleo, and J. J. Johnson's Turnpike (both included here in notated versions) are two frequently played examples of the many new melodies composed to "the Rhythm Changes." They include extensive alterations to Gershwin's original chords. A partial list of other compositions based on "the Rhythm Changes" is included, as well as a list of recordings of these compositions.

Works: Johnson: Turnpike (216-17); Rollins: Oleo (217-18).

Sources: Gershwin: I Got Rhythm (203-19). (STG)

Index classifications: 1900s, Jazz

Le Vot, Gérard, and Robert Lug. "Imitations poétiques et adaptations mélodiques chez les Minnesänger." Perspectives Médiévales 16 (June 1990): 19-34.

The authors raise questions about the textual and melodic adaptation of troubadour melodies by German Minnesingers. Hardly any German melodies survive, and since several texts seem to be based on Occitan models in terms of overall sense, scansion, rhyme scheme, and sound of the syllables (correspondances phonématiques), it may be assumed that the texts were sung to the corresponding melodies. However, the number of syllables does not always fit the number of notes, and it is often difficult to decide which of the musical variants should be chosen.

Works: Friedrich von Hausen: Si darf mich des zihen niet (19-21); Heinrich von Morungen: Lange bin ich geweset verdaht (26); Ulrich von Gutenberg: Ich horte ein merlikin wol singen (26-27); Bernger von Horheim: Nu enbeiz ich doch des trankes nie (27-28). (AG)

Index classifications: Monophony to 1300

Le Vot, Gérard. "La tradition musicale des épîtres farcies de la Saint-Étienne en langues romanes." Revue de Musicologie 73 (1987): 61-82.

Farsed epistles are vernacular contrafacta of such famous tunes as the hymn Veni creator, commenting on the Latin epistles. Three factors might indicate an oral transmission: (1) variants in the contrafacta as compared to the original melody; (2) adaptation of the music by repetition of melodic formulas to changing lengths of verses; and (3) variants between the strophes. While the ornamental variants among contrafacta of the same tune indirectly suggest an oral tradition, the absence of such variants between strophes of the same piece seems to imply a written tradition.

Works: Farsed epistles of St. Stephen Sesta lesson (69-70); and St. John Evangelist Esta luson (68-70); Lament from the Jeu de sainte Agnès (68-70). (AG)

Index classifications: Monophony to 1300

Leach, Mark A. "On Re-creation in Medieval Music: Some Melodic and Textual Relationships among Gloria Tropes." Ars lyrica 7 (1993): 25-46.

The concept of centonization (recurrence of melodic formulae) may be expanded to suggest that certain textual elements (including word sounds, placement, and meaning) also may have suggested musical setting. Clues to the sources of these borrowings are sometimes found in verses other than the first one. Whether or not it was conscious, musical borrowing of this type serves to reinforce the authority of the pre-existent material and may be an aid to memory.

Works: Pax in caelo permanet (26-27); Laudabilis domine (29-31); Alme mundi (31-35); O alma virgo (35-36); Hic laudando (35-43); Cives superni/Christus surrexit (43-45).

Sources: Laudat in excelsis (25-26); Laus tua deus (28-29, 31-35); Laus tibi domine (28-29); Alme mundi (35-36); Quem patris (35-43); Pax sempiterna (43-45). (FC)

Index classifications: Monophony to 1300

Leavis, Ralph. "Ein Oktavierter Tenor-Cantus-firmus?" Die Musikforschung 12 (April/June 1959): 212.

Index classifications: 1500s

Lebermann, Walter. "Apokryph, Plagiat, Korruptei oder Falsifikat?" Die Musikforschung 20 (October/December 1967): 413-25.

Index classifications: 1900s

Leech-Wilkinson, Daniel. "Compositional Procedure in the Four-Part Isorhythmic Works of Philippe de Vitry and His Contemporaries." Ph.D. diss., University of Cambridge, 1983.

Index classifications: 1300s

Leech-Wilkinson, Daniel. Compositional Techniques in the Four-Part Isorhythmic Works of Philippe de Vitry and His Contemporaries. Outstanding Dissertations in Music from British Universities. New York: Garland, 1989.

Index classifications: 1300s

Leech-Wilkinson, Daniel. "Related Motets from Fourteenth-Century France." Proceedings of the Royal Musical Association 109 (1982-83): 1-22.

A comparison of Ars nova motets by De Vitry and Machaut and their contemporaries, shows they are closely related by compositional detail. Comparable external stylistic features and constructional formulae suggest a link between the works of each composer, as well as a link between the two. The features that link these works are the type a composer may borrow either from another composer or from one of his own preexisting works. Related features include color length, quantity of chant notes, and integer valor length. The application of similar compositional strategies suggests these motets were composed during the same period. Although these findings do not reveal a concrete chronology, or provide definitive answers in regards to attribution, they do suggest that the isorhythmic repertoire, pre-1365, was the output of a small group of composers who knew each others' work.

Works: Vitry: Cum/Hugo/Magister invidie (1-2, 16, 19), Tuba/In arboris/Virgo sum (1-2, 11-13, 15-16, 18, 20), O Canenda/Rex/Rex regum (2, 11, 16); Vos/Gratissima/Gaude gloriosa (2,16,19), Impudenter/Virtutibus/Alma redemptoris mater (2-3, 6, 8-9, 12-13, 16, 18), Colla/Bona/Libera me (2, 6, 16, 19), Douce/Garison/Neuma (5-6, 16), Petre/Lugentium (9, 14, 18); Machaut: Christe/Veni/Tribulatio (3-4, 14, 16), Tu qui/Plange/ Apprehende (3,16), Felix/Inviolata/Ad te suspiramus (3-4, 16), Amours/Faus/Vidi Dominum (4, 14), Bone/Bone/Bone pastor (4, 12, 14, 16, 19), Aucune/Qui/Fiat voluntas tua (5-6 16, 19-20), Tout/De souspirant/Suspiro (13-14, 16, 19), Qui es/Ha fortune/Et non est qui adjuvet (12, 16-17, 19), Hareu/Hareu/Obediens usque ad mortem (12); Ivrea/Anon.: In virtute/Decens/Clamour meus (3, 5-6, 8, 16, 18-19), Flos/Celsa/Quam magnus pontifex (6, 11-12, 16-19), Fortune/Ma doloreus/Tristis est anima mea (6, 12, 14, 16, 19), A vous/Ad te/Regnem mundi (6, 15, 16, 17, 19), Rachel/Ha fratres (6, 12, 16-19), Almifonis/Rosa (6, 12-14, 16, 20), Amer/Durement/Dolour meus (6, 12-14, 16), Se paour/Diex/Concupisco (6, 12, 14-15, 16, 19,), Zolomina/Nazerea/Ave Maria (7, 12, 16-17, 19), Trop/Par Sauvage (7, 12, 16-17, 19), L'amoureuse/En l'estat (7, 12, 15-17), Mon chant/Qui doloreus/Tristis est anima mea (7, 12, 16-17, 19), Apta/Flos/Alma redemptoris mater (8-9, 16, 19), Portio/Ida/Ante tronum (10, 16), Apollinis/In omnem terram (10, 16, 20), Tant/Bien/Cuius pulchritudinum (15-16, 19), Les Mayn/Je n'y saindrai plus (19); Et in terra (10, 16); F-Pn67/Anon.: Musicalis/Sciencie/Alleluia (6, 16); Chantilly Ms./Anon: Sub arturo/Fons/In omnem terram (10).

Sources: Vitry: Douce/Garison/Neuma (5); Anon.: In virtute/Decens/Clamour meus (3), Et in terra (10), Almifonis Ros (13), Se paour/Diex/Concupisco (6, 14-15, 16, 19). (DG)

Index classifications: 1300s

Leeson, Daniel N. "The Enigma Enigma." International Journal of Musicology 7 (1998): 241-57.

Many attempts have been made to identify the origin of Elgar's "Enigma" theme. However, such study of melodic affinity is futile. Melodic similarities can be found among many different pieces, most of which bear no relationship with each other. To prove this point, a computer was utilized to identify the relationship of material between compositions. The first study was that of Mozart's Requiem in D Minor, K. 626, to determine the amount of melodic affinity between the movements by Mozart and those by Süssmayr. This method was then employed for the purposes of identifying similarities with the "Enigma" theme. The compositions employed in this study were Elgar's Variations on an Original Theme for Orchestra, Enigma, his overture Alassio (In the South), and the slow movement from Mozart's Symphony No. 38 in D, K. 504 (Prague). As expected, many affinities were discovered between the three works. Thus, the study of melodic affinity is not conclusive, or even probable, when it cannot be coupled with documentary evidence.

Works: Elgar: Variations on an Original Theme for Orchestra, Enigma (241-44, 251-57). (CMH)

Index classifications: 1900s

Leikin, Anatole. "Chopin's A-Minor Prelude and Its Symbolic Language." International Journal of Musicology 6 (1997): 149-62.

Even though Chopin denounced and laughed at any attempts to relate his works to programmatic narratives, his notion of absolute music is betrayed by borrowed melodies and topical gestures that may be found in his works. The Prelude in A Minor, Op. 28, No 2, is an ideal subject for hermeneutic or semiotic interpretation due to its juxtaposition of funereal and religious elements. The musical texture is permeated with references to the Dies Irae chant. Chorale and funeral march topics also appear in the score. The structural troping of these elements leads one to believe that death was on the mind of the composer. The sharp decline in Chopin's health while composing these preludes gives further credence to a programmatic interpretation. Interestingly, Alexander Scriabin borrowed elements from this work for his second Prelude of Op. 74, which also alludes to his own failing health.

Works: Chopin: Prelude in A Minor, Op. 28, No. 2 (149-59); Scriabin: Prelude, Op. 74, No. 2 (159-62).

Sources: Dies Irae (149-62); Chopin: Prelude in A Minor, Op. 28, No. 2 (159-62). (REG)

Index classifications: 1800s, 1900s

Lenaerts, René Bernard. "La missa parodia néerlandaise au 16e siècle." In Report of the International Musicological Society Congress Basel 1949, ed. Schweizerische Musikforschende Gesellschaft, Ortsgruppe Basel, 179-80. Basel: Bärenreiter-Verlag, 1949.

Index classifications: 1500s

Lenaerts, René Bernard. "Parodia, Reservata-Kunst en Muzikaal Symbolisme." In Liber amicorum Charles van den Borren, ed. Albert vander Linden, 107-12. Anvers: Imprimerie Lloyd Anversois, 1964.

Index classifications: 1500s

Lenaerts, René Bernard. "The l6th-Century Parody Mass in the Netherlands." The Musical Quarterly 36 (July 1950): 410-21.

It is difficult to define the term "parody mass," because it encompasses a technique that underwent great development throughout the 15th and 16th centuries. This article discusses and illustrates this growth through the works of Netherland composers of this time period. The development of parody techniques begins with mass composers such as Barbingant and Josquin, who focused primarily on the melodic elements of their original source and composed works with techniques similar to that of cantus firmus masses, and continues with composers such as de la Rue, who borrowed small polyphonic fragments from the original, and later Monte, who incorporated larger, more polyphonic structures from the source, often in conspicuous places.

Works: Barbingant: Missa Terriblement suis fortunée (412); Pierre de la Rue: Missa à 6 Ave Sanctissima Maria (413-14); Josquin: Missa Fortuna desperata (415), Missa Malheur me bat (415), Missa Una musque de Buscava (415); Monte: Missa Reviens vers moi (418), Missa a 5 Cara la vita mia (418); Lassus: Missa Entre vous filles de quinze ans (417); Willaert: Missa Mente tota (416). (PRZ)

Index classifications: 1500s

Leopold, Silke. "Israel in Egypt--ein missglückter Glücksfall." In Göttinger Händel-Beiträge 1, edited by Hans Joachim Marx, 35-50. Kassel: Bärenreiter, 1984.

In no other work did Handel borrow more material from his own and other pieces than in the oratorio Israel in Egypt (1738). With the example of the chorus "But the waters overwhelmed their enemies" based on the soprano aria "It is the Lord that ruleth the sea" from the Chandos Anthems, Leopold shows that this extensive borrowing does not result from Handel's "mental illness" in 1737, as has been stated repeatedly, but from his intention to find new possibilities with old material. The physical energy originating in the rhythmical opposition of voices and orchestra in "The waters" contrasts strongly with the purely rhetorical representation of water in "It is the Lord," where the soloist and the bass line flow in the same rhythm. Handel uses these two contrary musical styles to set suitably the two parts of Israel in Egypt: the first part with all the active elements of the exodus and the second part with the contemplative text (e.g. "And with the blast of thy nostrils"). The idea of contrasting the chorus and orchestra shows Handel developing an appropriate musical style for the oratorio by having the orchestra take over the role of the stage setting in the opera. (AG)

Index classifications: 1700s

Lessem, Alan. "Schoenberg, Stravinsky, and Neo-Classicism: The Issues Reexamined." The Musical Quarterly 68 (Winter 1982): 527-42.

Despite clear similarities in the evolution of the Neoclassical styles of Schoenberg and Stravinsky, comparisons often prove more insightful when used to highlight their differences. Both composers felt a strong need to reconcile current compositional trends with those of the past, and attempted this partially through borrowing from the established classical tradition, as seen in Stravinsky's use of established forms in non-conventional ways. Stravinsky's tendency to use existing music as musical material to be manipulated is evident in the third movement of his Piano Sonata, which is clearly based on Beethoven's Sonata in F Major, Op. 54. While there is a clear relationship between these pieces, Stravinsky's use of the material completely reconceives Beethoven's ideas of form and harmony, a trait common to many of Stravinsky's recompositions.

Works: Stravinsky: Piano Sonata (541), Octet for Winds (541-42).

Sources: Beethoven: Piano Sonata in F Major, Op. 54 (541). (SW)

Index classifications: 1900s

Leuchtmann, Horst. "Drei bisher unbekannte Parodiemessen von Morales, Lechner und Lasso. Neufunde in einer Neresheimer Handschrift von 1578." Musik in Bayern 20 (1980): 15-37.

Index classifications: 1500s

Leverett, Adelyn Peck. "A Paleographical and Repertorial Study of the Manuscript Trento, Castello del Buonconsiglio, 91 (1378)." Ph.D. dissertation, Princeton University, 1990.

Index classifications: 1400s

Leverett, Adelyn Peck. "Works by Vincenet in Trent 91." In I codici musicali trentini: Nuove scoperte e nuovi orientamenti della ricerca, ed. Peter Wright, 121-47. Trento: Provincia Autonoma di Trento, Servizio Beni Librari e Archivistici, 1996.

Index classifications: 1400s

Leverett, Adelyn Peck. "Song Masses in the Trent Codices: The Austrian Connection." Early Music History 14 (1995): 205-56.

Index classifications: 1400s

Levin, Gregory. "An Analysis of Movements III and IX from Le Marteau sans maitre by Pierre Boulez." Ph.D. diss., Brandeis University, 1975.

Index classifications: 1900s

Levin, Henry. "Gershwin, Handy and the Blues." Clavier 9 (October 1970): 10-20.

Two of the principal motives in Rhapsody in Blue are direct borrowings from two of W. C. Handy's compositions, "Beale Street Blues" and "St. Louis Blues." Gershwin also employs a three-against-four accent cycle that is a prominent feature of Handy's style. A sidebar disproves the persistent rumor that the E major main theme of Rhapsody in Blue was inspired by Gershwin's hearing of the "Chimes of Erie" at St. Peter's Cathedral in Erie, Pennsylvania; the chimes were installed at St. Peter's four years after the publication of Rhapsody in Blue. (DL)

Index classifications: 1900s

Levy, Kenneth Jay. "'Susanne un jour': The History of a 16th Century Chanson." Annales musicologiques 1 (1953): 375-408.

There are more settings of "Susanne un jour" preserved in manuscripts and publications than of any other sixteenth-century secular text in any language. Almost all use the same melody, Didier Lupi Second's Susanne un jour, a chanson spirituelle intended for devotional use amongst Protestants. The settings, however, were mostly aimed at a popular audience. Lassus's 1560 setting was the most famous: reprinted and set for instruments more than any other setting, it also reached the largest audience in the most countries. Other settings in the "Susanne" complex would have played on the listener's or performer's acquaintance with the original model or other settings. Each composer used the "Susanne" model in a different way. To determine how or why an individual piece borrows, settings may be inspected in the following ways: (1) relation to the Lupi model; (2) relation to other pieces in the complex (including borrowing from one setting to another, or the purposeful use of a new technique of setting); (3) position within a "style, period or milieu"; (4) position in the composer's output. "Susanne" settings present the sixteenth-century polyphonic chanson in microcosm.

Works: Orlando de Lassus, Susanne un jour (382, 386, 388-89); Millot, Susanne un jour (387-88, 392); Claude le Jeune, Susanne un jour (389-91); Monte, Susanne un jour (392); Rore, Susanne un jour (393); François Rousell (393-95); Nicholas de la Grotte, Susanne un jour (395-96); Andreas Papius, Susanne un jour (396-97, 405-08). (JFA)

Index classifications: 1500s

Lewin, David. "A Transformational Basis for Form and Prolongation in Debussy's 'Feux d'artifice.'" In Musical Form and Transformations: Four Analytic Essays, 97-159. New Haven: Yale University Press, 1993.

A detailed analysis of Debussy's "Feux d'artifice," the last of his twenty-four Préludes for piano, reveals a network of musical ideas and transformational relations that shape the overall form and character of the piece. A melodic fragment of the French national anthem "La Marseillaise" appears during the coda. The most obvious role of this quotation on the surface level is to evoke a spirit of French nationalism, which seems especially appropriate considering the immediate prewar period when Debussy composed this music. Yet on a deeper level of structure, the quotation of "La Marseillaise" achieves greater significance in that its headnote represents the culmination of a large-scale ascending chromatic progression initiated at the second reprise (from m. 82). (MSS)

Index classifications: 1900s

Liebergen, Patrick M. "The Cecilian Movement in the Nineteenth Century: Summary of the Movement." Choral Journal 21 (May 1981): 13-16.

Tenets of the Cecilian movement, including stylistic borrowing of Renaissance polyphony, chant-like melodies, and the use of wind music for accompaniment, are found in the music of Bruckner and Liszt. Bruckner's Mass in E Minor, Os justi, and Pange lingua are compared with Liszt's Missa choralis, Gran Mass, and Via crucis. Bruckner and Liszt idealize the movement.

Works: Bruckner: Mass in E Minor (14), Pange lingua (14), Os justi (14); Liszt: Missa choralis (15), Gran Mass (15), Messe für Männerchor (Missa quattuor vocum ad aequales) (15), St. Elizabeth (15), Via crucis (15), Christus (15-16).

Sources: Hymn: Pange lingua (15); Eighth Psalm tone (15); Chant: Rorate coeli, Angelus, Beati Pauperes (15); Hymn: O filii et filiae (16). (BJT)

Index classifications: 1800s

Lindlar, Heinrich. "Musikalische Zitate: Diakritisches zu Schostakowitsch und Strawinsky." In Bericht über das Internationale Dimitri-Schostakowitsch-Symposion Köln 1985, ed. Klaus Wolfgang Niemüller, Vsevolod Zaderackij,and Manuel Gervink, 34 5-354. Kölner Beitrage zur Musikforschung 150. Regensburg: Gustav Bosse, 1986.

Index classifications: 1900s

Lipphardt, Walther. "Kontrafakturen weltlicher Lieder in bisher unbekannten Frankfurter Gesangbüchern vor 1569." In Quellenstudien zur Musik: Wolfgang Schmieder zum 70. Geburtstag, ed. Kurt Dorfmüller in association with Georg von Dadelsen, 125-35. Frankfurt: C. F. Peters, 1972.

Index classifications: 1500s

Lipphardt, Walther. "Über die Begriffe: Kontrafaktur, Parodie, Travestie." Jahrbuch für Liturgik und Hymnologie 12 (1967): 104-11.

Index classifications: General

Lipphardt, Walther. "Zur Geistlichen Kontrafaktur." In Festschrift für Walter Wiora zum 30. Dezember 1966, ed. Ludwig Finscher and Christoph-Hellmut Mahling, 284-95. Kassel: Bärenreiter, 1967.

Index classifications: 1500s

Lippmann, Friedrich. "Haydns La fedeltà premiata und Cimarosas L'infideltà fedele." Haydn-Studien 5 (March 1982): 1-15.

Index classifications: 1700s

Lissa, Zofia. "Ästhetische Funktionen des musikalischen Zitats." Die Musikforschung 19 (October/December 1966): 364-78.

One finds quotation in almost every epoch. Quotation must be distinguished from parody technique, contrafactum, variation, transcription, phantasy on known themes, paraphrase, pasticcio, metamorphosis, and stylization. Some thirteen criteria for quotation are listed (pp. 365-67). Four aesthetic functions of quotation are discussed with numerous examples of each: (1) a quotation may serve as the symbol for a well-defined expressive character; (2) a quotation may be used not so much as a symbol but rather as a means of expressing the content of a programmatic work (quotation as commentary); (3) a quotation may serve as an allusion or reference which will be more or less understood by the listener; and (4) a quotation may express parody, irony, or grotesquerie. The significance of quotation must be considered in relation to the genre in which it appears, such as pure instrumental music, vocal music, opera and ballet, music for film, and Jazz.

Works: Wagner: Die Meistersinger (368); Britten: Albert Herring (368); Bax: Tintagel (368); Berg: Lyrischen Suite (368); Mendelssohn: Reformation Symphony (369); Tchaikovsky: 1812 Overture (369); Prokofiev: Aleksander Newski (369); Shostakovich: Symphony No. 12 (369); Berlioz: Symphonie fantastique (369); Liszt: Dante Symphony (369), Totentanz (369); Rachmaninoff: Die Todesinsel (369); Dallapiccola: Canti di prigionia (369); Miaskowski: Symphony No. 6 (369); Schubert: Der Tod und Das Mädchen (369); Strauss: Ein Heldenleben (370), Don Juan (370), Tod und Verklärung (370), Don Quixote (370), Also Sprach Zarathustra (370), Til Eulenspiegel (370); Offenbach: Orpheus (371); Strauss: Le Bourgeois Gentilhomme (372). (DCB)

Index classifications: General, 1800s, 1900s

Lissa, Zofia. Aufsätze zur Musikästhetik. Berlin: Henschel, 1969.

Index classifications: General

Lissa, Zofia. "Historical Awareness of Music and Its Role in Present-Day Musical Culture." International Review of the Aesthetics and Sociology of Music 4 (June 1973): 17-32.

The presence of history and of the past is very powerful in the music of today and is made evident in quotations. Quotations can function as associative symbols, as a means of representing past times, as symbols of fear, as reminiscences of specific ideas, or as parodies. Examples of each of these functions are given (see p. 26). Collage technique is also discussed with reference to works by Zygmunt Krause, Luciano Berio, Arvo Pärt, Enrique Raxach, Vittorio Galmetti, and Charles Ives. In the end, Lissa comes down hard on collage technique, wondering if it perhaps indicates an inability on the part of the composer to speak with an individual voice and stating that collage technique also devalues art by placing the quotation of artworks on the same level as street noises.

Works: Wagner: Die Meistersinger (26); Britten: Albert Herring (26); Berg: Lyric Suite (26); Tchaikovsky: The Queen of Spades (26); Liszt: Dante Symphony (26); Dallapiccola: Canti di Prigionia (26); Strauss: Heldenleben (26), Le Bourgeois Gentilhomme (26); Mussorgsky: Klassiker (26); Hindemith: Nusch-Nuschi (26); de Falla: The Three Cornered Hat (26); Stravinsky: Pulcinella (26); Krause: Recital (28); Berio: Sinfonia (29); Pärt: Collage sur Bach (29); Raxach: Inside Outside (29); Galmetti: L'opera abandonnata (29); Ives: Symphony No. 4 (29), Concord Sonata (29). (DCB)

Index classifications: 1800s, 1900s

Lissa, Zofia. Neue Aufsätze zur Musikästhetik. Wilhelmshaven: Heinrichshofen, 1975.

Index classifications: General

Lissa, Zofia. "Reger's Metamorphosen der Berceuse Op. 57 von Chopin." Die Musikforschung 23 (July/September 1970): 277-96.

Index classifications: 1800s

Litterick, Louise. "On Italian Instrumental Ensemble Music in the Late Fifteenth Century." In Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, ed. Iain Fenlon, 117-30. Cambridge: Cambridge University Press, 1981.

Three types of instrumental pieces became popular in the late fifteenth-century, all of which borrowed pre-existing musical material. The instrumental chanson was by far the most widespread and artistically important type. This form used one or more voices from the source forme-fixe chanson and added two or more repetitive and rhythmically dense parts as counterpoints against the source material; however, borrowed melodic lines were only used in part and never taken in entirety. This allowed for greater freedom and flexibility in instrumental chanson compositions. Phrase lengths varied more, since there were no textual considerations in instrumental music. Note values were often shortened to create more rhythmic uniformity among the parts. Sequential and repetitive devices were more common in the instrumental chansons in comparison to their vocal models, but such devices were commonly found in large sacred vocal works, where a more abstract relationship between the text and music invited the use of sequences and repetitive designs in the music. While instrumental music depends on a strong performance tradition, the most prominent pieces of instrumental music from the early sixteenth century were still composed by singer-composers who approached the instrumental medium from a vocal standpoint. Without true predecessors, instrumental works in the mid-sixteenth century either continued to borrow from vocal models or were newly invented.

Works: Josquin: Adieu mes amours (118), Basiés moy (118), Cela sans plus (118); Isaac: Helas que devera mon cuer (118); Ghiselin: La Alfonsa (118); Hayne van Ghizeghem: Mon souvenir (120); Martini: Des biens d'amours (120), De la bonne chiere (120-21); Josquin: La plus des plus (120-21), La Bernardina (120-22).

Sources: Anonymous: Adieu mes amours (118), Basies moy (118); Hayne van Ghizeghem: De tous biens plaine (118); Ockeghem: D'ung aultre amer (118); Hayne van Ghizeghem: Mon souvenir (120); Josquin: Vultum tuum deprecabuntur (123), Alma redemptoris mater (123). (JSB/VLM)

Index classifications: 1400s, 1500s

Litwin, Stefan. "Politische Musik kontra musikalische Politik: Arnold Schönbergs Ode to Napoleon Buonaparte op. 41." In Stil oder Gedanke?: Zur Schönberg-Rezeption in Amerika und Europa, 24-33. Saarbrucken: Pfau, 1995.

Index classifications: 1900s

Lloyd, Thomas. "A Comparative Analysis of 18 Settings of Petrarch's Tutto 'l di piango, e poi la notte, quando." D.M.A. document, University of Illinois, 1994.

Index classifications: 1500s, 1600s

Lockwood, Lewis. "Aspects of the 'L'Homme armé' Tradition." Proceedings of the Royal Musical Association 100 (1973-74): 97-122.

Despite the recognition of the importance of "L'Homme armé," two questions still remain outstanding: (1) what are the origins of the melody and its text, and (2) how may the earliest polyphonic elaborations of the tune be identified, grouped, and ordered? Details of the tune's structure and modality suggest that it was composed rather than arising spontaneously from folk tradition. Its traditional use as a tenor part supports the idea that the tune was once the tenor of a three-part chanson. The text can be read in light of several social and military innovations in 1440s France. Dufay appears to be the first to elaborate the melody in a mass cycle; the tradition spread to other regions of France and returned to Burgundy before spreading into Italy. There are marked stylistic differences in the oldest masses using the tune. Dufay, Josquin, Palestrina, and others used a countermelody resembling Kyrie VIII ("Kyrie de angelis") in "L'Homme armé" masses. This same countermelody appears in the "In nomine" section of John Taverner's Mass "Gloria tibi trinitas," thus suggesting a link between the "L'Homme armé" and "In nomine" traditions.

Works: Guillaume Dufay: Missa L'Homme armé (112-15, 116); Johannes Ockeghem: Missa L'Homme armé (113-15); Josquin des Prez: Missa L'Homme armé super voces musicales (116-17), Missa L'Homme armé sexti toni (117); Giovanni Pierluigi da Palestrina: Missa L'Homme armé (117); Johannes Prioris: Missa de Angelis (118-19); John Taverner: Missa Gloria tibi trinitas (120-21).

Sources: L'Homme armé; O rosa bella (101-02); Kyrie VIII ("Kyrie de Angelis") (116-21). (FC)

Index classifications: 1400s, 1500s

Lockwood, Lewis. "Beethoven's Earliest Sketches for the Eroica Symphony." The Musical Quarterly 67 (October 1981): 457-78.

Beethoven's Wielhorsky sketchbook contains sketches for a variety of works, including the Op. 35 Eroica variations for piano. Immediately following the sketches for the piano variations is a plan for the Third Symphony, with meters, key schemes, tempo markings, and rough themes for each of the first three movements. The lack of reference to a fourth movement suggests that Beethoven planned to use the piano variations as a basis for the finale to the symphony from the start. Lockwood demonstrates that the principal theme of the first movement is derived from the "Basso del Tema" of Op. 35. The finale of the symphony is thus seen as the generating force of the entire work.

Works: Beethoven: "Eroica" Variations for Piano, Op. 35, Symphony No. 3 in E-flat Major, Eroica, Op. 55. (NKT)

Index classifications: 1800s

Lockwood, Lewis. "On 'Parody' as Term and Concept in 16th-Century Music." In Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. Jan LaRue with Martin Bernstein, Hans Lenneberg, and Victor Yellin, 560-75. New York: W. W. Norton, 1966.

The authority and widespread of the term "parody" as applied to sixteenth-century music stem from a reference by Ambros in 1868, based on the title of Jacob Paix's Missa Parodia Mottetae Domine da nobis auxilium of 1587. Theorists such as Vicentino, Zarlino, Pietro Ponzio, and Cerone discussed the concept as it applies to music but did not use the Greek term "parody," most often using the Latin "imitatio." While other terms would be more acceptable, the widespread use of the word "parody" makes necessary a concise definition as it has come to be used. The term "parody" can be applied preeminently to music in the sixteenth century, and its major area of cultivation was the Mass. A distinctive feature of sixteenth-century "parody" is that its unit of procedure is the motive and that the skill and art of "parody" lay in the transformation that composers could achieve from previously formed motivic constructions. A drastic change in the concept of composition was an apparently essential condition for "parody" to develop in music.

Works: Jacob Paix: Missa ad imitationem Mottetae In illo tempore (564-65), Missa Parodia Mottetae Domine da nobis auxilium (561-66, 568). WJM

Index classifications: General, 1500s

Lockwood, Lewis. "A View of the Early Sixteenth-Century Parody Mass." In Queen's College Department of Music Twenty-Fifth Anniversary Festschrift (1937-1962), ed. Albert Mell, 53-77. New York: Queen's College Press, 1964.

About 1500 there occurred a change of model for the Mass from chanson to motet. This change was due in part to the significant output of motet types. The rising importance of the text in the motet caused composers to be alert to the opportunity of drawing upon text associations to generate certain musical procedures in the Mass. In addition, the importance given to the text caused composers to think and write motivically. This type of motivic construction, not present in the 15th century, was crucial to the development of the 16th-century parody Mass.

Works: Claudin: Missa Domine quis habitat (57); Gombert: Missa Sancta Maria (57); Therache: Missa Quem dicunt homines (57); de Hondt: Missa Benedictus Dominus (57); Obrecht: Missa Rosa playsant (58): Josquin: Missa D'ung aultre amer (58): Barbingant: Missa Terribilment (62); Obrecht: Missa Ave Regina (63), Missa Si didero (63); Josquin: Missa Mater Patris (63): Févin: Missa Mente tota (64), Missa Ave Maria (64); Mouton: Missa Quem dicunt homines (64); Divitis: Missa Quem dicunt homines (64). (SB)

Index classifications: 1500s

Lockwood, Lewis. "A Continental Mass and Motet in a Tudor Manuscript." Music and Letters 42 (1961): 336-47.

It has been assumed that compositions found in sixteenth-century Tudor manuscripts are indeed of English origin. However, several parody pieces, based on Continental source compositions, are included in one particular Tudor manuscript. The question then follows of whether the parody compositions are of Continental or English origin. These compositions are attributed to "Lupus"; from this, there is a resulting problem as to which "Lupus" the attribution should be made. The Peterhouse collection attributes these compositions to "Lupus Italus," yet this attribution has been discredited. Comparing Missa Surrexit pastor bonus with its model confirms its Continental origins and further confounds the problem of attribution. Both the Mass and motet feature similar textual correspondences, similar formal design, and exact corresponding closing "Alleluia" sections. Furthermore, the order of the borrowed material in each Mass movement corresponds with the model's presentation. The material of the motet's prima pars serves as the source for the opening of the Mass's movements, and the secunda pars is the source for the second half of the Gloria and Credo movements. A more detailed examination of these pieces and their models may reveal the proper attribution of Continental works included in Tudor manuscripts.

Works: "Lupus": Aspice Domine (337), Missa Surrexit pastor bonus (341).

Sources: Andrea de Silva: Surrexit pastor bonus (341-42). (VLM)

Index classifications: 1500s

Loeffler, Alfred. "Fortuna Desperata: A Contribution to the Study of Musical Symbolism in the Renaissance." Student Musicologists at Minnesota 3 (1968-69): 1-30.

Index classifications: 1400s, 1500s

Logan, Adeline Marie. "American National Music in the Compositions of Charles Ives." M.M. thesis, University of Washington, 1943.

Index classifications: 1800s, 1900s

Long, Michael. "Symbol and Ritual in Josquin's Missa Di Dadi." Journal of the American Musicological Society 42 (Spring 1989): 1-22.

Josquin based his Missa Di Dadi on the tenor of Robert Morton's three-voice rondeau N'aray je jamais mieulx que j'ay. Not only this text but also the visual device of two dice indicating the degree of augmentation in the tenor are closely related to the fifteenth-century liturgical ritual of the Mass. The dice disappear at the beginning of the "Osanna," and it is at this same place that the chanson tenor is quoted beyond the first line ("N'aray je jamais mieulx que j'ay?"). Long interprets the sequence of dice arrangements as rolls of a popular French dice game, which ends after the "Sanctus" with the victory of the first player. The winning of the game corresponds to the "short-lived glimpse of the Redeemer" (a reward for the faithful) at the elevation of the host during the "Osanna." The first line of the chanson text, which is repeated seven times before the "Osanna," has a meaning that is both secular (relating to money) and sacred (relating to the search for salvation), and the answer is not given until that moment where the whole cantus firmus is quoted. The remainder of the article (p. 14-21) considers parallels between Josquin's Missa Di Dadi and the late Missa Pange lingua. The latter may have been in part a reworking of the former in order to eliminate the metaphor of the dice.

Works: Josquin: Stabat Mater (1-2), Missa Di Dadi (1-13, 20-21), Missa D'ung aultre amer (5); Pierre de la Rue: Missa de Sancta Anna (12-13); Josquin: Missa Pange lingua (14-21). (AG)

Index classifications: 1500s

Lowe-Dugmore, Rachel. "Delius and Elgar: A Postscript." Studies in Music 8 (1974): 92-100.

Index classifications: 1900s

Lowe-Dugmore, Rachel. "Frederick Delius and Norway." Studies in Music 6 (1972): 27-41.

Index classifications: 1900s

Lowinsky, Edward E. "The Goddess Fortuna in Music with a Special Study of Josquin's Fortuna dun gran tempo." The Musical Quarterly 29 (1943): 45-77. Reprinted with revisions in Edward E. Lowinsky, Music in the Culture of the Renaissance and Other Essays, vol. 1, ed. Bonnie J. Blackburn, 221-39. Chicago: University of Chicago Press, 1989.

Index classifications: 1400s

Lowinsky, Edward E. "Matthaeus Greiter's Fortuna: An Experiment in Chromaticism and in Musical Iconography." The Musical Quarterly 42 (1956): 500-519 and 43 (1957): 68-85. Reprinted with revisions in Edward E. Lowinsky, Music in the Culture of the Renaissance and Other Essays, vol. 1, ed. Bonnie J. Blackburn, 240-61. Chicago: University of Chicago Press, 1989.

Index classifications: 1500s

Lowinsky, Edward E. "English Organ Music of the Renaissance--II." The Musical Quarterly 34 (October 1953): 528-53.

The Mulliner Book contains the largest collection of keyboard works by William Blitheman (1525-1591). Although Blitheman is best known as John Bull's teacher, a closer inspection of the Gloria tibi Trinitas settings shows that he may have also been one of the pioneering figures in the development of plainsong variation sets. The six Trinitas pieces were probably originally intended as one cyclic work. This composition would not predate Narvaez's two sets of variations on O Gloriosa domina, but was probably a great influence on later European variation composers, such as Jan Pieterszoon Sweelinck. In the first five variations, the Gloria tibi Trinitas plainsong serves as a structural voice around which increasingly virtuosic passages are composed. In some of the variations, the cantus firmus participates in and is obscured by the musical figuration. The last variation follows the contemplative melos suave style, which can be found in other works by Blitheman. Investigation also shows that the work was most likely composed for organ.

Works: William Blitheman: Gloria tibi Trinitas I-VI (528-53).

Sources: Antiphon: Gloria tibi Trinitas (528-5