An Annotated Bibliography

MacClintock, Carol. "Two Lute Intabulations of Wert's Cara la vita." In Essays in Musicology: A Birthday Offering for Willi Apel, ed. Hans Tischler, 93-99. Bloomington: Indiana University School of Music, 1968.

A comparison of two lute intabulations of Wert's madrigal Cara la vita shows how two different composers (Emmanuel Adriensen and Giovanni Antonio Terzi) adapted their style and techniques to specific performance settings. Adriensen's intabulation of the madrigal mostly maintains the texture, melody, and rhythms of the original so that the intabulation can still be played as an accompaniment for singing. Terzi on the other hand intended his intabulation for solo performance. The outer voices are still delineated in the first section of Terzi's intabulation. The second section departs from the model as less effort is made to preserve the melodic material. Although the outline of the original is discontinued, the harmonic structure of the original remains clear. The two intabulations show how both composers adhere closely to the tonal structure within their elaboration of the music and how they were still inclined to preserve their model rather than obscure it.

Works: Adriensen: Intabulation of Cara la vita (95-97); Terzi: Intabulation of Cara la vita (96-98).

Sources: Wert: Cara la vita mia (94). (JSB)

Index classifications: 1500s

Macdonald, Hugh. "Berlioz's Self Borrowings." Proceedings of the Royal Musical Association 92 (1965-66): 27-44.

A fairly extensive catalogue of Berlioz's re-use of his own compositions in later works. Macdonald reaches several important conclusions: (1) Berlioz's borrowings show "a gradual perfecting and distillation of a musical idea which is notably enhanced in detail and in aptness at each appearance" (p. 41). This idea explains to a great extent why Berlioz destroyed many of the earlier versions of pieces that were borrowed. (2) Berlioz generated most of his borrowed materials in the earliest period of his career (1825-30) in which he produced only one major work, but which yielded material that he drew upon when "time, money, or the immediate stimulus of a new literary movement . . . were lacking" (p. 39). Conversely, in his later pieces he borrowed insignificantly, if at all. (3) Berlioz did not always borrow music with the same specific programmatic elements, but instead re-used music with similar extramusical connections wherever he felt the occurrence of a similar idea. For this reason the same music is used for "the sentiments of the Abruzzi brigands boasting of their spoils [Harold in Italy], and those of the heroes of Napoleon's army returning home from their victories [Rob Roy]." (p. 41). (WPS)

Index classifications: 1800s

Macey, Patrick. "Josquin as Classic: Qui habitat, Memor esto, and Two Imitations Unmasked." Journal of the Royal Musical Association 118 (1993): 1-43.

Two psalm motets attributed to Josquin, Levavi oculos meos in montes (c.1539) and Nunc dimittis (c.1530) are probably the work of lesser composers. Research into the authenticity of these works entails a careful examination of sources and musical style. Levavi oculos occurs only in the second volume of psalm motets of Johannes Petreius (1539), an unreliable source. Nunc dimittis is preserved in only two Italian manuscripts (1522 and c.1530). Levavi oculos and Nunc dimittis were probably modeled on the structure of Josquin's motets Qui habitat in audiutorio altissimi (c.1530) and Memor esto verbi tui (c.1510), respectively. Especially similar are the dimensions of the opening and closing sections of each pair of motets. Although the unknown composers incorporated Josquin's subjects, they failed to capture the interesting contours and initial rhythmic thrusts of those subjects. In addition, the passages not modeled on Josquin's motets are often contrapuntally awkward and the text-setting by the unknown composers is inferior to that of Josquin. Like Cicero, Josquin was a model of perfection, especially in Germany in the 1530s and 1540s. Josquin's music was particularly important in the early sixteenth century because, unlike the situation in literature, no music had survived from antiquity to serve as a model for Renaissance composers. The term imitatio serves a useful function as long as one qualifies the type of imitatio as being student emulation, as in the motets Levavi oculos and Nunc dimittis, or homage of a certain kind.

Works: Anonymous: Levavi oculos; Nunc dimittis. (DB)

Index classifications: 1500s

Macey, Patrick. "Savonarola and the Sixteenth-Century Motet." Journal of the American Musicological Society 36 (Fall 1983): 422-52.

Girolamo Savonarola's meditations on the Psalms have been set by many major composers of the sixteenth century. Savonarola had included the simplification of sacred music as part of his reform in Florence and he wrote several lauda texts intended to be set to simple tunes. Although the tune Savonarola wrote for Psalm 132, "Ecce quam bonum," has not been preserved, several composers (including Richafort, Gombert, and Mouton) have used a tune similar to Verdelot's setting of the psalm in their own settings. Savonarola's meditation on Psalm 50, "Infelix ego," has been set by Willaert, Rore, Vicentino, Lassus, and Byrd in their motets. The motets based on Psalm 50 by Willaert, Rore, and Vicentino show structural and musical connections, suggesting that the motets were composed around the same time. Lassus's setting seems to have been modeled on Willaert's setting, especially at crucial turning points in the text. Savonarola's meditation on Psalm 50 also played a role in Duke Ercole's decision to commission a setting by Josquin and in Josquin's compositional procedure. There is a striking structural similarity between Savonarola's meditation and Josquin's motet in the same emphasis on the words "Miserere mei Deus." Willaert, Rore, and Vicentino also incorporated Josquin's setting of the phrase "Miserere mei Deus" in their settings of Psalm 50. Instead of simplifying sacred vocal music, Savonarola's meditations provided material for some of the more complex and elaborate motets of the sixteenth century.

Works: Richafort: O quam dulcis (428-31); Gombert: Ecce quam bonum (432); Willaert: Infelix ego (441-42, 445); Rore: Infelix ego (441); Vicentino: Infelix ego (441, 443); Lassus: Infelix ego (446).

Sources: Verdelot: Letamini in Domino (427); Josquin: Miserere mei Deus (441). (JSB)

Index classifications: 1500s

MacKay, John. "'Les jeux sont faits': Ensemble Strategies and Historical 'Borrowing' in the Music of Bengt Hambraeus." Ex Tempore: A Journal of Compositional and Theoretical Research in Music 10 (Summer 2000): 12-67.

Index classifications: 1900s

Macomber, Frank S. "Bach's Re-use of His Own Music: A Study in Transcription." Ph.D. diss., Syracuse University, 1967.

Index classifications: 1700s

Magee, Jeffrey. "'Everybody Step': Irving Berlin, Jazz, and Broadway in the 1920s." Journal of the American Musicological Society 59 (Fall 2006): 697-732.

In the early 1920s, when public familiarity and associations with jazz were amorphous and inconsistent, Irving Berlin cultivated a sense that his theatrical music defined jazz. In addition to textual and musical references to ragtime or blues characteristics, Berlin used quotations of his own music, which had already gained ragtime associations, to reinforce this idea. One notable example is Berlin's quotation of his earlier songs Alexander's Ragtime Band, Everybody's Doing It Now, and The Syncopated Walk in his 1921 Everybody Step. Berlin's self-borrowing ranged from nearly exact quotation of a full phrase of both music and lyrics to more subtle use of one- or two-measure units of rhythms, fills, or pick-ups that were nevertheless recognizable as being drawn from his earlier pieces. The earlier songs' associations with jazz implied that Berlin's newer music also fit into the genre. To further build upon this personal jazz lineage, Berlin borrowed from Everybody Step in later works.

Works: Irving Berlin: Everybody Step (698-10), The Syncopated Vamp (706, 708), Pack Up Your Sins and Go to The Devil (710-12).

Sources: Irving Berlin: Alexander's Ragtime Band (706-07, 709-10), Everybody's Doing It Now (706, 708-09), The Syncopated Walk (706-09), Everybody Step (710-13). (PEK)

Index classifications: 1900s, Popular, Jazz

Magee, Jeffrey. "Irving Berlin's 'Blue Skies': Ethnic Affiliations and Musical Transformations." Musical Quarterly 84 (Winter 2000): 537-80.

Applying the technique of a "song profile," or the compositional and performance history of a tune that reveals socially constructed meanings, to Irving Berlin's Blue Skies reveals several borrowings that suggest reinterpretation. Many of Berlin's songs reflect a Jewish tradition, incorporating modal mixture and chromatic inflection. Although this tradition is not uniquely Jewish, listeners interpreted as such in Manhattan in Berlin's day. Looking at the tune history of Blue Skies demonstrates the shift from its Jewish origins in the 1920s to subsequent revisions that change its ethnic associations. A performer such as Belle Baker, for example, who sang the song in Betsy, attempted to identify directly with Jewish culture, whereas Al Jolson, who played straightforward and jazzy renditions in The Jazz Singer, gave the song, in addition to its Jewish characteristics, jazz overtones. Benny Goodman and Mary Lou Williams employed allusion; Bing Crosby crooned a slow, balladic version and marketed it toward a broader, Caucasian, middle-class audience. Through contrafact, Thelonius Monk virtually disguised the source in In Walked Bud, while Ella Fitzgerald used scat. Willie Nelson and Pete Seeger reinterpreted the song further to represent an American folk song. Above all, the transcendent power of the tune proves the "assimilative power of Jewish culture" and effectively reinforces its roots.

Works: Rodgers and Hart: Betsy (552-57); Berlin: Blue Skies as performed by Al Jolson in The Jazz Singer (557-59), Fletcher Henderson and Benny Goodman (559-63); Mary Lou Williams: Trumpet No End, arrangement for Duke Ellington (560-62); Berlin: Blue Skies as performed by Bing Crosby (563-65); Thelonius Monk: In Walked Bud (566-69); Berlin: Blue Skies as performed by Ella Fitzgerald (569-70), Willie Nelson (570-71), Pete Seeger (571-72).

Sources: Berlin: Blue Skies (537-38, 540-44, 547, 549-52, 572-73). (KJL)

Index classifications: 1900s, Popular, Jazz

Magers, Roy Vernon. "Aspects of Form in the Symphonies of Charles Ives." Ph.D. dissertation, Indiana University, 1975.

Index classifications: 1900s

Magers, Roy Vernon. "Charles Ives's Optimism: or, The Program's Progress." In Music in American Society 1776-1976, ed. George McCue, pp. 73-86. New Brunswick, N. J.: Transaction Books, 1977.

Index classifications: 1900s

Magrill, Samuel Morse. "The Principle of Variation: A Study in the Selection of Differences with Examples from Dallapiccola, J. S. Bach, and Brahms." Ph.D. diss., University of Illinois, 1983.

Index classifications: 1700s, 1800s, 1900s

Mahrt, William P. "The Missae ad organum of Heinrich Isaac." Ph.D. diss., Stanford University, 1969.

Index classifications: 1400s, 1500s

Maier, Elisabeth. "Der Choral in den Kirchenmusik Bruckners." In Bruckner Symposion: Anton Bruckner und die Kirchenmusik, ed. Othmar Wessely, 111-22. Linz: Anton Bruckner-Institut, 1988.

Index classifications: 1800s

Maillard, Jean (Henri Octave). "Problèmes musicales et littéraires du lai." Quadrivium. Rivista di Filologia e musicologia medievale 2 (1958): 32-44.

Index classifications: Monophony to 1300

Mallet, Franck. "Orient-Occident: De l'emprunt á l'intégration." Cité musiques: Journal de la Cité de la Musique 29 (Summer 2000): 6-7.

Index classifications: 1900s

Maniates, Maria Rika. The Combinative Chanson: An Anthology. Recent Researches in the Music of the Renaissance, 77. Madison: A-R Editions, 1989.

Index classifications: 1400s

Maniates, Maria Rika. "Combinative Chansons in the Dijon Chansonnier." Journal of the American Musicological Society 23 (1970): 228-81.

The combinative chansons of the Dijon Chansonnier (Dijon, Bibliothèque Municipale, MS 517) demonstrate characteristics of a well-defined genre. All of the combinative chansons of the Dijon Chansonnier feature a forme fixe in the Superius, with inner voices employing a popular melody, usually a chanson à refrain. In many cases, the popular melody is presented in canon. The aim of these chansons was to combine popular and courtly styles in a humorous and ironic way. Courtly and popular texts were presented in succession. True stylistic integration was undesirable because it would have hidden the antithetical construction of the combinative elements. Appendices provide an annotated list of combinative compositions and a catalogue and transcriptions of popular melodies quoted in the combinative chansons. (FC)

Index classifications: 1400s

Maniates, Maria Rika. "Combinative Chansons in the Escorial Chansonnier." Musica disciplina 39 (1975): 61-125.

The combinative chansons of the Escorial Chansonnier (Escorial, Biblioteca del Monasterio, MS IV.a.24) show that while the witty textual allegory had reached sophisticated levels quite early, musical techniques were slower to develop. Imitative and canonic use of the popular tunes, as well as true triple chansons, did not appear for another generation. Nevertheless, some of the combinative chansons of the Escorial Chansonnier show considerable musical sophistication. Diagrams show how courtly and popular materials are distributed among voice parts. Appendices provide an annotated list of combinative compositions and a catalogue and transcriptions of popular melodies quoted in the combinative chansons.

Works: O Rosa bella/Hé Robinet (69, 107); Se je suis despourvue/Veni veni clerice (79-80, 108-10); A Florence/Hélas la fille Guilhemin (63-65, 7172, 111-13); N'oés-vous point le coc/Cocq en l'orge (74-75, 115-16); Madame de nom/Sur la rive de la mer (71, 118-19)

Index classifications: 1400s

Maniates, Maria Rika. "Quodlibet Revisum." Acta Musicologica 38 (1966): 169-78.

Combinative music of the fifteenth and sixteenth centuries uses different methods to unite heterogeneous texts and melodies: simultaneous, successive, and a combination of the two. Franco-Flemish practice focused on the first two of these categories. Serious motets and melancholy songs combined texts and tunes with symbolic relationships. Double and triple chansons and compositions with mixed sacred and secular texts used satire to produce humor on an ironic level. The type of combinative writing most often found in German regions featured a combination of successive fragments within a loose form, producing a broader, nonsensical type of humor. Thus the term "quodlibet" should be understood to refer to this specific sixteenth-century German type. (FC)

Index classifications: 1400s, 1500s

Maniates, Maria Rika. "Mannerist Composition in Franco-Flemish Polyphony." The Musical Quarterly 52 (January 1966): 17-36.

Index classifications: 1400s, 1500s

Mann, Alfred. "Bach's Parody Technique and its Frontiers." In Bach Studies, ed. Don O. Franklin, 115-24. Cambridge: Cambridge University Press, 1989.

The multidimensionality of Bach's borrowing technique defies efforts to characterize it with terms such as "parody" or "transcription." The derogatory associations that these terms carry obscure the variety of Bach's techniques, such as reorchestration, intensification of counterpoint or melodic material, and even "reminiscence" of material from a different location in the same work. For example, the Triple Concerto in A Minor, BWV 1044, is not a simple transcription of the concertino from the Fifth Brandenburg Concerto, but a reworking that results in a far greater complexity of texture, while the opening of the Gloria from the Mass in A Major, BWV 234, is a parody of the last movement of Cantata 67 yet resembles the Kyrie from the same Mass, for which no model can be found. The idea of "transcription" is clearly too narrow to describe some works whose relationships extend beyond the ostensible model to other compositions. Bach's parody technique should be regarded as an elaboration of pre-existing works into new compositions, as well as a manifestation of his power of invention.

Works: Bach: Triple Concerto in A Minor, BWV 1044 (115-16), Cantata, BWV 146, Wir müssen durch viel Trübsal (117), Harpsichord Concerto in D Minor, BWV 1052, Mass in A Major, BWV 234 (117-19), Mass in F Major, BWV 233 (117-22), Prelude, Fugue, and Allegro in E-flat Major, BWV 998 (122-23). (AJF/SB)

Index classifications: 1700s

Mann, Alfred. "Self Borrowing." In Festa Musicologica: Essays in Honor of George J. Buelow, ed. Thomas J. Mathiesen and Benito V. Rivera, 147-63. Stuyvesant, N.Y.: Pendragon, 1995.

The term "self borrowing" is not only grammatically contradictory (what one owns, one needs not borrow), it also tends to obscure the compositional process. Composers such as Bach and Handel did not stop thinking about musical material once it was committed to paper; rather, they continued to revise and expand on it. In Handel's case, expansion and elaboration of a theme can be seen in manuscript sketches.

Works: Wolfgang Amadeus Mozart: Piano Trio in E-flat, K. 498 (147-48), Die Entführung aus dem Serail, Act II, "Welche Wonne, welche lust" (147, 149); Anonymous, attributed to Handel: St. John Passion (150); George Frideric Handel: Organ Concerto, Op. 7, No. 4 (150-52), Nel dolce dell' oblio (150, 153), composition studies for Princess Anne (157-59), Sixth Chandos Anthem (159-63); Johann Sebastian Bach: Mass in B minor, BWV 232, "Patrem omnipotentem" (155-56).

Sources: Wolfgang Amadeus Mozart: Piano Quartet in G minor, K. 478 (147-48), Flute Concerto, K. 314 (147, 149); Georg Philipp Telemann: Musique de table, second set (150, 153); Johann Sebastian Bach: Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 (155-56); George Frideric Handel: Utrecht Te Deum (159). (FC)

Index classifications: General, 1700s

Mann, William. Richard Strauss: A Critical Study of the Operas. London: Cassell, 1964.

Among Strauss's fifteen operas, there are a large number of quotations, stylistic allusions, and melodic derivatives, most of which have a programmatic intent. The musical borrowings are cited but are not included on separate lists. (FT)

Index classifications: 1900s

Mansfield, Orlando Augustine. "The Cuckoo and Nightingale in Music." The Musical Quarterly 7 (April 1921): 261-77.

Index classifications: General

Marcus, Jason. "Don't Stop That Funky Beat: The Essentiality of Digital Sampling to Rap Music." COMM-ENT: Hastings Journal of Communications and Entertainment Law 13, no. 4 (Summer 1991): 767-90.

Index classifications: 1900s, Popular

Marget, Arthur W. "Liszt and Parsifal." The Music Review 14 (May 1953): 107-24.

Index classifications: 1800s

Mark, Christopher. "Britten's Quatre Chansons Françaises." Soundings 10 (Summer 1983): 23-35.

Britten's Quatre Chansons Françaises, written in 1928, show four possible sources of influences: Frank Bridge, Britten's composition teacher; works whose scores Britten owned; broadcasts, recordings, and concerts; and orchestration books. Britten may have used Bridge as a model for some of the harmonies and orchestration in the first song "Les Nuits de Juin," but this is difficult to trace. Of the works he knew in score, those that seem to have had the most influence are Wagner's Tristan und Isolde and Siegfried and Ravel's Introduction and Allegro. Tristan serves as a model for the end of the song cycle where the similarities are key (B Major/C-flat Major), and the spacing of the strings in the final chord, which is repeated three times as in Tristan. Also, the soprano ends on the same note (F-sharp/G-flat); the utilization of suspensions is similar; and the "Tristan chord" is blatantly quoted in the third song "L'Enfance." The influence of Ravel, along with that of Debussy, may have been acquired through broadcasts as well as scores. This French influence appears in the vocal writing; the use of non-functional progressions of seventh and ninth chords; an oscillating triplet figure in "Les Nuits de Juin"; a melodic line constructed from a chain of 025 trichords in the final song "Chanson d'Automne"; and modal inflection such as is found in the second song "Sagesse." Finally, Cecil Forsyth's book Orchestration appears to have influenced not only the orchestration but also various instructions written in the parts. (NS)

Index classifications: 1900s

Mark, Jeffery. "Ballad Opera and Its Significance in the History of English Stage-Music." London Mercury 8 (July 1923): 265-78.

Index classifications: 1700s

Markewich, Reese. The New Expanded Bibliography of Jazz Compositions Based on the Chord Progressions of Standard Tunes. New York, N.Y.: Reese Markewich, 1974.

Many modern jazz and popular compositions have been written based on the chord progressions of standard popular songs and other jazz compositions. They provide a fresh approach, both melodically and harmonically, to familiar material, and serve jazz musicians in jam sessions as an acceptable common denominator of chord progressions known to all. In addition to brief introductory comments, this book lists groups of compositions (more than one hundred compositions are included) that share the same chord progressions. Compositions based on the twelve-bar blues harmonic scheme and George Gershwin's song I Got Rhythm are not included. (STG)

Index classifications: 1900s, Jazz

Marks, Martin. "Music, Drama, Warner Brothers: The Cases of Casablanca and The Maltese Falcon." Michigan Quarterly Review 35, no. 1 (Winter 1996): 112-42.

Music in film can serve to strengthen the plot and emotional intensity if it is made an essential part of the narrative. In the case of Casablanca, Max Steiner scores approximately forty-five minutes of music that makes an indelible mark on the film's narrative through borrowing the French national anthem, La Marseillaise, the German national anthem, Deutschland über alles, As Time Goes By, and Watch on the Rhine, scoring them repeatedly in various ways to show sympathy for the star-crossed lovers. Adolph Deutsch's score for the Maltese Falcon contains fifty minutes of composed music that does not contain borrowed tunes, lending itself to a less noticeable role in the film's narrative. Steiner borrowed La Marseillaise to symbolize the French, and by extension, the Allied resistance to Nazi oppression. Deutschland über alles and Watch on the Rhine were used to symbolize the Nazi German menace. As Time Goes By is scored unobtrusively with background music throughout the score as a theme song, enhancing the unity of the film and imbuing the narrative with a strong sense of nostalgia.

Works: Max Steiner: score to Casablanca (118); Adolph Deutsch: score to The Maltese Falcon (128).

Sources: Joseph Haydn (tune), Hoffman and Fallersleben (poem): Deutschland über alles (119); Herman Hupfeld: As Time Goes By (121); Karl Wilhelm: Watch on the Rhine (121). (KEW)

Index classifications: 1900s, Film

Marmande, Francis. "Le Travail de la 'citation': Espace rupture." Jazz Magazine 194 (November 1971): 16-19.

The enormous variety of borrowing (citation) in free jazz cannot be adequately described by our current rigid and limited terminology. The rhetoric and ideology present in outmoded descriptions of borrowing that use language and assumptions advanced by Philippe Carles and Jean-Louis Comolli obligate us to intervene and create a new system for writing about borrowing. We must do away with mythical and mystical language of inspiration and creation, as well as the inflexible idea that jazz emerged solely from the condition of Black Americans. Furthermore, distinctions between types of borrowing are useless if divorced from the texts--"text" in this case being a flexible term that refers not just to our traditional ideas of notated music, but to any heard performance. If we separate term and text, we slide back towards old unconstructive accusations of copying and plagiarism. The new terminology should incorporate the many types of borrowing that occur, including collage, mélange, collision, juxtaposition, reminiscence, and self-borrowing, as well as the performance conditions and the reason for the use of a particular source. (PEK)

Index classifications: General, 1900s, Jazz

Marschner, Bo. "Stravinsky's Le baiser de la fée and Its Meaning." Dansk årbog for musikforskning 8 (1977): 51-83.

Despite Stravinsky's protestations to the contrary, it is possible to find meaning in his music, especially in Le baiser de la fée. As the work borrows from Tchaikovsky and makes reference to Richard Wagner a great deal, meaning can be found by examining Le baiser de la fée's borrowing and incorporations. The ballet's climax uses the half-diminished seventh chord, which is identical to the "Curse structure" of Wagner's Ring and the "Tristan structure" in Tristan und Isolde. Incidentally, this particular chord is also found in many of the Tchaikovsky works from which Stravinsky borrows. This structure is used abundantly throughout Le baiser de la fée, by both avoiding it and eventually capitulating. This is one example of a "symbol" that can be traced throughout the work and that can be said to carry "meaning."

Works: Stravinsky: Le baiser de la fée (51-83).

Sources: Tchaikovsky: Soir d'Hiver (62), Tant Triste, Tant Douce (62), Polka peu dansante (63), Ah, qui brûla d'amour (63, 68); Wagner: Tristan und Isolde (64, 70, 71); Tchaikovsky: Humoreske (71-73, 81-82), Reverie du Soir (72, 81), Berceuse de la Tempête (75-76); Wagner: Das Rheingold (76). (MEG)

Index classifications: 1900s

Marshall, Dennis. "Charles Ives's Quotations: Manner or Substance?" Perspectives of New Music 6 (Spring/Summer 1968): 45-56. Reprinted in Perspectives on American Composers, ed. Benjamin Boretz and Edward T. Cone, 13-24. New York: W. W. Norton, 1971.

The common assumption that Ives's use of borrowed material is primarily programmatic is not valid. Ives himself differentiated between "mannered" quotation, or the use of "local musical sources merely for surface effect," and the creation of meaning, substance, and compositional structure in a work through various types of quotation, paraphrase, and motivic and structural development related to borrowed material. The juxtaposition of sacred hymns with ragtime in the second and fourth movements of Ives's First Piano Sonata provides an example. Ives used both the formal and melodic organization of three hymns, I Hear Thy Welcome Voice, Bringing in the Sheaves, and Happy Day, as a basis for the ragtime movements. The simultaneous use of both sacred and secular music may be a result of Ives's Transcendentalist philosophy, which prompted him to draw on the entire range of music he knew. But Ives also selected his sources for quotation according to the motivic relationships present in the borrowed material. For example, the hymn tune Missionary Chant plays an important role in the Second Piano Sonata ("Concord") because of its melodic similarity to the opening motive from Beethoven's Fifth Symphony. In The Fourth of July, Ives uses the patriotic song The Red, White, and Blue throughout, a procedure that is comparable to the chorale preludes of J. S. Bach.

Works: Ives: Piano Sonata No. 1 (46-53), Orchestral Set No. 2 (46), Piano Sonata No. 2, "Concord, Mass., 1840-60" (54), The Fourth of July (54-56).

Sources: Ives: Set of Four Ragtime Pieces (46); Hartsough: "I Hear Thy Welcome Voice" (46-47, 49-50); Minor: "Bringing in the Sheaves" (46, 48, 50-53); Rimbault: "Happy Day" (46, 49-53); Zeuner: "Missionary Chant" (54); David T. Shaw: "The Red, White and Blue" (55-56); William Steffe?: "The Battle Hymn of the Republic" (55-56). (WS)

Index classifications: 1900s

Marshall, Robert L. "The Paraphrase Technique of Palestrina in His Masses Based on Hymns." Journal of the American Musicological Society 16 (Fall 1963): 347-72.

Palestrina composed nine polyphonic Masses based on plainsong hymns. One is canonic, two in cantus-firmus style, and six are paraphrase Masses. It is likely that his choice of hymns was influenced by his role in the post-Tridentine chant reform, which resulted in the publication of Johannes Guidetti's Directorium chori. All the hymns used by Palestrina in paraphrase Masses are contained in this publication. He usually states the borrowed melody in even note values, freeing him from the metrical structure of the hymn text.

Works: Palestrina: Missa Te Deum (349), Missa Veni Creator Spiritus, Missa Iam Christus (354), Missa Aeterna Christi (355), Missa Jesu nostra, Missa Ad coenam (357), Missa Octavi toni, Missa Iste confessor (360), Missa Sanctorum meritis (362). (FT)

Index classifications: 1500s

Martell, Paul. "Parody Versus Paraphrase in G. P. Paladino's Fantasia on 'Alcun non puo saper.'" Journal of the Lute Society of America 19 (1986): 1-12.

As suggested by John Ward and others, when a sixteenth-century composition borrows only melodic material from another work, the term "paraphrase" should be used rather than "parody." By contrast, "parody" should refer to the practice of appropriating "vertical slices" (chords and imitative structures) of the thematic complex of the borrowed music in a fairly strict manner. Giovanni Paolo Paladino's 1560 monothematic fantasia based on Vincenzo Ruffo's madrigal Alcun non puo saper subjects the original madrigal to a variety of techniques that include modification of the basic imitative structure (changing the distance between points of imitation), rhythmic alterations such as diminution and augmentation, and transposition of some of the melodic material to different modes. The intent of Paladino's borrowing remains an open question. Given the diatonicism of subjects and the control of dissonance in sixteenth-century counterpoint, it is possible that many "borrowed" relationships may simply arise from the use of a common subject. Paladino's Fantasia occupies a middle ground between parody and paraphrase since it appropriates, but radically alters, the vertical structure of Ruffo's madrigal.

Works: Paladino: Fantasia on "Alcun non puo saper" (1-12).

Sources: Ruffo: Alcun non puo saper (2-10). (STG/JSB)

Index classifications: 1500s

Marti, Christoph. "Zur Kompositionstechnik von Igor Strawinsky. Das 'Petit concert' aus der Histoire du soldat." Archiv für Musikwissenschaft 38 (May 1981): 93-109.

The musical material of Stravinsky's "Petit concert" from the Histoire du soldat consists only of quotations from the remaining movements of the piece. The beginning vertically combines two motives from the "Music to Scene 1" that are developed according to parameters inherent in the musical material, especially the major second or ninth. Stravinsky derived it from the space between the g and a strings of the violin that in the story is the actual reason for the "Petit concert." This development leads to new ideas that, once they are firmly established, turn out to be quotations themselves. Stravinsky quotes from movements with about the same tempo and uses consistent rhythmic patterns in order to achieve an optimal integration. (AG)

Index classifications: 1900s

Marvin, Roberta M. "Verdi's Othello: A Musical Hommage to Rossini." Paper read at the AMS New England Chapter Meeting, Mount Holyoke College, 26 September 1987.

Index classifications: 1800s

Marvin, Robert Montemorra. "Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture." Cambridge Opera Journal 15 (March 2003): 33-66.

Index classifications: 1800s

Mason, Daniel Gregory. The Chamber Music of Brahms. 2d ed. Ann Arbor: J. W. Edwards, 1950. 1st ed. New York: The Macmillan company, 1933.

Index classifications: 1800s

Massenkeil, Günther. "Eine spanische Choralmelodie in mehrstimmigen Lamentationskompositionen des 16. Jahrhunderts." Archiv für Musikwissenschaft 19-20 (1962-63): 230-37.

Although most polyphonic lamentations of the sixteenth century are based on the Roman lamentation tone, we find a few examples (including some outside of Spain) that are based on the Spanish version. The latter is especially characterized by its initial formula for the Hebrew letter. This formula may be quoted literally, paraphrased in one or several voices, transposed, and even reused in the initium of the actual lamentation. There is even an example where both the Roman and Spanish tone are vertically combined. One should beware, however, of confusing quotation with accidental melodic concordances.

Works: Morales: Aleph. Quomodo sedet (for five parts; from Ms. Toledo, Catedral, Bibl. Capitular, Libros de facistol Ms. 21) (232-33); Fuenllana: Aleph. Quomodo sedet; Morales: Lamentation, arranged for voice and vihuela (233); Créquillon: Lamed. O vos omnes (234-35), Mem. De excelso misit ignem (234); Valera: Ya no quiero aver plaser (236). (AG)

Index classifications: 1500s

Massenkeil, Günther. "Zur Lamentationskomposition des 15. Jahrhunderts." Archiv für Musikwissenschaft 18 (May 1961): 103-14.

Index classifications: 1400s

Mathiassen, Finn. The Style of the Early Motet. Copenhagen: Dan Fog Musikforlag, 1966.

In the medieval period, the motet was both an applied art and a speculative discipline. It was cultivated within very exclusive social circles. The aesthetic of these groups and the overall contemporary culture allowed for extensive borrowing from and transformation of monophonic and polyphonic music to create new works. Chant developed into organum through medieval rules of consonance, as is the case with the two-part organum Sed sic eum volo. This work also happens to be an organum mensuratum, which means that rhythms exist in a concrete form within the manuscript. Such notation enables modern scholars to more closely study the harmonies and counterpoint of the work. Many motets also allude to their own music. Overall, the most important sources of quotation in the medieval motet are other polyphonic upper voices and the chansonnier repertoire.

Works: Motet: Benedicamus domino (22); Organum: Sed sic eum volo (23-24); Motet: Cest quadruble sans reason (43-44), Trois serors, sor rive mer (43-44), De vulgari eloquentia (91-93).

Sources: Chant: Benedicamus domino (22); Gradual verse: Sed sic eum volo (23). (RCD)

Index classifications: Polyphony to 1300

Mathiesen, Thomas J. "'The Office of the New Feast of Corpus Christi' in the Regimen Animarum at Brigham Young University." Journal of Musicology 2 (Winter 1983): 13-44.

An English codex from 1343 includes a nearly complete exemplar of the Office for the Feast of Corpus Christi, with notation, providing new clues to the development of this office. Both texts and chants differ in some respects from other sources. Neither the texts nor the chants for this office were composed by St. Thomas Aquinas, as tradition holds. The chants were borrowed from numerous earlier sources, accurately listed in the marginalia in a Paris manuscript for the feast. These sources include the relatively late feasts of St. Thomas of Cantebury and St. Bernard, who were canonized in 1173 and 1174. (JPB)

Index classifications: Monophony to 1300, 1300s

Mattfeld, Jacquelyn Anderson. "Cantus firmus in the Liturgical Motets of Josquin des Pres." Ph.D. diss., Yale University, 1959.

Index classifications: 1400s, 1500s

Mattheson, Johannes. Der vollkommene Capellmeister. Hamburg, 1739; repr. 1954. Trans. as Johann Mattheson's Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, by Ernest C. Harriss (Ann Arbor, Mich.: UMI Research Press, 1981).

Index classifications: 1700s

Matthews, David. "First Performances: Britten's Third Quartet." Tempo, no. 125 (June 1978): 21-24.

Britten's Third Quartet uses material from Death in Venice, his last opera. Like Mahler with his late works and Aschenbach in the opera, Britten's inspiration "returned only under the shadow of death," and a preoccupation with life, death, peace, and beauty may be observed in the quartet. The final movement, "Passacaglia," subtitled "La Serenissima," is prefaced by five quotations from Death in Venice. The first quotation is the Barcarolle, which, in the opera, is "a transformation of the chorus's repeated calls of 'Serenissima'"; the final quotation is the love motive from the end of Act I (Aschenbach's confession of love for Tadzio, "I love you"). E Major, associated in Death in Venice with Aschenbach's quest for ideal beauty, is also used for the Passacaglia.

Works: Britten: String Quartet No. 3. (NS)

Index classifications: 1900s

Matthews, David. "Music for Chamber Ensemble (and 'Scenes from Schumann')." Tempo, no. 129 (June 1979): 20-26.

This issue of Tempo is dedicated to the works of Robin Holloway, and this article focuses on his chamber works. Scenes from Schumann involves paraphrases of six Schumann songs: two from Myrthen, one from Dichterliebe, and three from the Opus 39 Liederkreis. Holloway has "re-composed" them, delving into the songs and presenting them in enriched and intensified versions. Holloway's treatment of "Mondnacht" serves as an example. Along with harmonic changes, he adds borrowings from Wagner's Ring cycle and Tristan und Isolde, Schoenberg's Pierrot lunaire, and Debussy's Rondes de printemps. Holloway's Fantasy-Pieces for wind quintet offer a more subtle borrowing technique, in this case drawing on the Opus 24 Liederkreis. Several other brief examples demonstrate Holloway's basically romantic style of borrowing, which creates a feeling of separation or removal from the older material.

Works: Holloway: Scenes from Schumann (21-2), Fantasy-Pieces (22-3), Evening with Angels (23), Concertino No. 3 (23). (JS)

Index classifications: 1800s

Maust, Wilbur Richard. "The Symphonies of Anthony Philip Heinrich (1781-1861) Based on American Themes." Ph.D. diss., Indiana University, 1973.

Index classifications: 1800s

Mavrodin, Alice. "Variations, Fugue, and Envoi on a Theme of Handel." Trans. Tempo, no. 133/134 (September 1980): 61-67.

Igor Markevitch's Variazioni e fuge su un tema di Haendel, his final composition, synthesizes his personal language with the canon of pianistic tradition and the tradition of variations. Markevitch deliberately separates the core body of his variations from both the unaltered presentation of the borrowed theme and from the coda. Throughout the variations, he suggests the use both of the piano as a heroic instrument in itself and as a miniature orchestra. Although Markevitch's Variazioni e fuge su un tema di Haendel is both the climax and the end of his compositional oeuvre, it serves as an appropriate segue to his later editorial work.

Works: Igor Markevitch: Variazioni e fuge su un tema di Haendel (61).

Sources: Handel: Keyboard Suite No. 5 in E Major (61). (VEW)

Index classifications: 1900s

Maxson, William L. "A Study of Modality and Folk Song in the Choral Music of Ralph Vaughan Williams." M.M. thesis, Indiana University, 1957.

English folk songs and the modality inherent in them influenced Vaughan Williams's choral works in the areas of rhythm, tempo, meter, modality, melody, harmony, ornamentation, tonality, texture and form. Chapters IV ("Music Based on a Folk Song Idiom") and V ("Choral Works Based Directly on Folk Songs") contain information on Vaughan Williams's use of borrowed materials.

Works: Vaughan Williams: Fantasia on the "Old 104th" Psalm Tune (40), The Dark-Eyed Sailor (50), The Spring Time of the Year (51), Just as the Tide was Flowing (52), The Lover's Ghost (53), Wassail Song (54), A Sea Symphony (63). (RCL)

Index classifications: 1900s

Maxwell, Margaret F. "Olympus at Billingsgate: The Burlettas of Kane O'Hara." Educational Theatre Journal 15 (May 1963): 130-35.

Index classifications: 1700s

Mayer, Harry. "Het citaat in de Nederlandse muziek." Mens en Melodie 25 (December 1970): 131-34.

[On Schat and Andriessen among others.]

Index classifications: 1900s

Mayer-Serra, Otto. "Falla's Musical Nationalism." The Musical Quarterly 29 (January 1943): 1-17.

Falla is distinguished for having brought Spanish music into the 20th century through his move away from the romantic-impressionistic tradition, in which folk elements are merely stylized, to a neo-classic musical language in which folk elements serve as the basis for composition. Falla's innovations include developments in rhythm, harmony and form. Each of these, "internal rhythm," "Harmonic resonance," and modification of classical schemes, is discussed in reference to his Harpsichord Concerto, which treats a 15th-century Castilian folksong, De los alamos vengo.

Works: Falla: Harpsichord Concerto. (AW)

Index classifications: 1900s

Mayer-Serra, Otto. "Silvestre Revueltas and Musical Nationalism in Mexico." The Musical Quarterly 27 (April 1941): 123-45.

Revueltas never used actual folk melodies in his music, but he evoked regional tunes such as the Tarascan son and the Michoacan corrido by modeling his melodies on their characteristic features, thus creating a Mexican nationalist music.

Works: Revueltas: Caminos (131-32), Cuauhnahuac (130), Janitzio (129-30, 133), The Wave (132-33). (NKT)

Index classifications: 1900s

Mayo, John. "Coming to Terms with the Past: Beckwith's Keyboard Practice." In Taking a Stand: Essays in Honour of John Beckwith, ed. Timothy J. McGee, 94-109. Toronto: University of Toronto Press, 1995.

Because of the relationship between borrowed music and compositional structure in Beckwith's Keyboard Practice (1979), an analysis of these components may illuminate the composer's intended meaning, as well as provide an analytical model for other referential compositions. Keyboard Practice, a set of variations which involves four performers who play on ten different keyboard instruments, employs quotations from an anonymous Alman, a movement from an Ordre by François Couperin, Liszt's Au bord d'une source, and Charles L. Johnson's Cum Bac' Rag. On the surface, these borrowings reflect Beckwith's view of the history of keyboard literature. The variety of instruments involved may also be read as an examination of a variety of keyboard timbres. Beckwith also comments on each borrowed composition through musical interruptions which disrupt the quotations. The 12-tone row upon which the piece is based may also be considered a reflection on the borrowed material, as it is derived from the first ten notes of the Alman, and sections of the row serve as cadential figures in reference to the other pre-existent music.

Works: Beckwith: Keyboard Practice (94-109).

Sources: Fitzwilliam Virginal Book: anonymous Alman (97-105); François Couperin: [Unidentified] Ordre (97-105); Liszt: Au bord d'une source (97-105); Charles L. Johnson: Cum Bac' Rag (98-105). (REG)

Index classifications: 1900s

Mays, Kenneth Robert. "The Use of Hymn Tunes in the Works of Charles Ives." M.M. thesis, Indiana University, 1961.

Index classifications: 1800s, 1900s

Mazo, Margarita. "Stravinsky's Les Noces and Russian Folk Wedding Ritual." Journal of the American Musicological Society 43 (Spring 1990): 99-142.

Although Stravinsky frequently emphasizes his familiarity with the sources of folk songs and the influence of folk music upon his works, he claims to have quoted only one folk tune (Ne veselaia da kampan'itsa) in his ballet Les Noces. What characterizes Les Noces as typically Russian is not the quotation of this song, however, but the use of melodic idioms, called popevki. Popevki playing an important role in Stravinsky's ballet are listed in the appendix of the essay. According to Stravinsky, Les Noces is also a product of the Russian church, which is shown with a passage entirely derived from the Fifth Tone (glas) of the Znamennyi Chant. The main point of the article is, however, that Stravinsky's ballet is strongly influenced by the Russian folk weddings in terms of "poly-layered texture," the function of rhythmic and melodic ostinato, the recurrences of certain melodic phrases, as well as conceptual and structural ideas.

Works: Kastalsky: Kartiny narodnykh prazdnovanii na Rusi (Scenes of Folk Festivals in Old Russia) (112-14); Stravinsky: Les Noces. (AG)

Index classifications: 1900s

McBrier, Vivian Flagg. R. Nathaniel Dett: His Life and Works (1882-1943). Washington: The Associated Publishers, 1976.

R. Nathaniel Dett believed that African-American folk songs were well suited to development into high art forms, and that such development could inspire racial pride and personal dignity. He was particularly predisposed to the use of spirituals as the basis of choral compositions. His treatment of the source material included use of the entire song or only the smallest fragment; expansion, contraction, variation, and inversion of the melodic ideas; rhythmic diminution and augmentation; textual mutations and repetitions; and antiphonal and contrapuntal treatments.

Works: Dett: Listen to the Lambs (36-38), The Ordering of Moses (82-84, 143, 144), O Hear the Lambs A-Crying (134,135), Gently, Lord, O Gently Lead Us (136), Let Us Cheer The Weary Travler (137-139). (RLS)

Index classifications: 1900s

McCaldin, Denis. "Neues und Altes in Haydns Sinfonie Nr.89." In Das symphonische werk Joseph Haydns, 55-64. Eisenstadt: Burgenlandisches Landesmuseum, 2000.

Index classifications: 1700s

McCandless, William Edgar. "Cantus Firmus Techniques in Selected Instrumental Compositions, 1910-1960." Ph.D. dissertation, Indiana University, 1974.

Index classifications: 1900s

mcclung, bruce d. "Life after George: The Genesis of Lady in the Dark's Circus Dream." Kurt Weill Newsletter 14, no. 2 (Fall 1996): 4-8.

Kurt Weill originally conceived the third dream sequence in Lady in the Dark as a minstrel show, but lyricist Ira Gershwin preferred Gilbert and Sullivan as a model, particularly Trial by Jury. Early drafts and the final version include many parallels and echoes in the text. Weill joined in by borrowing the Mikado's entrance song from The Mikado for the entrance of the jury. (JPB)

Index classifications: 1900s, Popular

McDonald, Matthew. "Death and the Donkey: Schubert at Random in Au Hasard, Balthazar." The Musical Quarterly 90 (Fall/Winter 2007): 446-68.

The musical context of pre-existing pieces used in film scores may help one derive meaning from a score. While film director Robert Bresson completely rejected non-diegetic film music at the end of his career, Au Hasard, Balthazar represents the culmination of his admired treatment of rhythm and form in film music. He avoids postmodern irony present in films such as 2001: A Space Odyssey, choosing instead to merge the aural and visual to the point that they are dependent on each other. Fragments of the Andantino from Schubert's Piano Sonata in A Major, D. 959 are arranged in a way that adds meaning to the film. It is essential for viewers to pay attention to the meaning of these fragments both as they function within the film and according to their original function, as the images and sounds in the film transform one another.

Works: Robert Bresson (director): Sound track to Au Hasard, Balthazar.

Sources: Schubert: Piano Sonata in A Major, D. 959. (KRA)

Index classifications: 1900s, Film

McFarland, Alison Sanders. "Another Look at Polyphonic Borrowing: Morales, the Missa Quem dicunt homines, and the Missa Vulnerasti cor meum." In Cristóbal de Morales: Sources, Influences, Reception, ed. Owen Rees and Bernadette Nelson, 111-21. Rochester, N.Y.: Boydell Press, 2007.

Index classifications: 1500s

McFarland, Mark. "Debussy and Stravinsky: Another Look into Their Musical Relationship." Cahiers Debussy, no. 24 (2000): 79-112.

Index classifications: 1900s

McGinness, John. "Has Modernist Criticism Failed Charles Ives?" Music Theory Spectrum 28 (Spring 2006): 99-109.

Index classifications: 1900s

McGrath, William J. "Mahler and Freud: The Dream of the Stately House." In Beiträge '79-81, Gustav Mahler Kolloguium 1979: Ein Bericht, ed. Rudolf Klein, 40-51. London: Bärenreiter-Verlag, 1981.

Mahler and Freud were both interested in the dynamics of dreams. Mahler's Third Symphony and Freud's The Interpretation of Dreams both involve dream images. Freud had a "dream of the stately house" (not included in his book) which makes reference to a nationalist song written by August von Binzer in 1819. The beginning of this song largely corresponds to the beginning of Mahler's Third Symphony, such that the latter is viewed as an allusion to the former. The song was sung in 1878 upon the government's dissolution of an influential youth organization to which Freud belonged and of which Mahler was aware. The shared interest of Freud and Mahler in the youth culture of the 1870s is revealed in their references to this song. (DCB)

Index classifications: 1800s

McGrath, William J. "The Metamusical Cosmos of Gustav Mahler." Chap. in Dionysion Art and Populist Politics in Austria. New Haven: Yale University Press, 1974.

Mahler's Third Symphony may be interpreted in terms of the philosophy of Schopenhauer. Mahler quotes the adagio of Beethoven's String Quartet Op. 135 at the beginning of the last movement and quotes Wagner's Parsifal at the end of the same movement.

Works: Mahler: Symphony No. 3.

Sources: Beethoven: String Quartet in F Major, Op. 135; Wagner: Parsifal. (DCB)

Index classifications: 1800s

McGuinness, Rosamund. "Mahler und Brahms: Gedanken zu 'Reminiszenzen' in Mahlers Sinfonien." Melos/Neue Zeitschrift für Musik 3 (May/June 1977): 215-24.

In the wake of the Brahms/Wagner debate of the mid-nineteenth century, Mahler alludes in his music to Brahms both thematically and structurally. Due to his quotation of other composers, Mahler has often been criticized for lack of originality. Mahler took inspiration from Brahms and transformed it in his own music. Examples of this are seen in Mahler's First and Second Symphonies and their allusions to Brahms's First and Second Symphonies.

Works: Mahler: Symphony No. 2 (216, 219-21), Symphony No. 1 (218-19), Symphony No. 4 (222), Symphony No. 6 (222-23), Symphony No. 7 (222-23).

Sources: Brahms: Ein deutsches Requiem, Op. 45 (216, 220-21), Symphony No. 2 (217-19), Nänie, Op. 82 (220), Symphony No. 1 (221-22), Symphony No. 3 (222-23). (SR)

Index classifications: 1800s, 1900s

McKay, David. "The Fashionable Lady: The First Opera by an American." The Musical Quarterly 65 (July 1979): 360-67.

James Ralph's (1695-1762) The Fashionable Lady (1730) should be considered the first opera by an American, not Anthony Aston's The Fool's Opera (as cited by Sonneck in his Early Opera in America). Ralph, foremost a writer, travelled with Benjamin Franklin to England beginning in 1724, and moved in circles of notable friends such as John Gay, Alexander Pope and William Hogarth. The Fashionable Lady fits into the scheme of English ballad opera of the period. Specific numbers in this opera are lifted most often from John Gay's The Beggar's Opera and Polly, but also from Charles Johnson's The Village Opera and Thomas Walker's The Quaker's Opera. Only one number in Ralph's work, "The Queen's Old Courtier" (Air no. 56), could possibly have been composed by Ralph; in this rare instance, the music suits Ralph's text.

Works: James Ralph: The Fashionable Lady. (JAJ)

Index classifications: 1700s

McLean, Florence Anne. "Rachmaninov's 'Corelli-Variations': New Directions." D.M.A. document, University of British Columbia, 1990.

Rachmaninov's Corelli Variations illustrates his new compositional tendencies: economy of means, sparse texture, well-balanced structure, string-inspired figurations, elements of American jazz, and the avoidance of Romantic richness. Some of these elements are also present in the Paganini Rhapsody. Along with this main idea, the composer's borrowings in the two pieces are examined mainly in the discussion of string-influenced variations. For instance, in the Corelli Variations, the cadenza in the Intermezzo shares gypsy-style figurations with Kreisler?s La Gitane (m. 7). In the coda, the soaring melodic contour is inspired by that in the transcription of the coda of Corelli's La Folia (mm. 1-3) by Albert Spalding, Rachmaninov's friend. In the Paganini Rhapsody, the skips in triplet figuration in Var. 23 have a parallel with those in Paganini's La Clochette (mm. 76-92).

Works: Rachmaninov: Variations on a Theme of Corelli (32-34), Rhapsody for Piano and Orchestra on a Theme of Paganini, Op. 43 (52).

Sources: Paganini: Praeludium and Allegro (32); Kreisler: La Gitane (33); Albert Spalding: transcription of Corelli?s La Folia (34); Paganini: La Clochette (52). (HJK)

Index classifications: 1900s

McLeod, Kembrew. "Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist-Academic." Popular Music and Society 28 (February 2005): 79-93.

The electronic collage aesthetic, which originated with musique concrète and tape works such as John Cage's Imaginary Landscape No. 5 and Bill Buchanan and Dickie Goodman's The Flying Saucer, finds its modern incarnation in Danger Mouse's The Grey Album, a mash-up of Jay-Z's The Black Album and The Beatles' White Album. The current mash-up phenomenon is made possible by file-sharing software and readily available mixing programs. The Grey Album presents a legal quagmire because the samples were used without permission of EMI, prompting cease-and-desist letters to all those who circulated the album. Current laws only permit covers of songs, and sampling without permission is prohibited. Until copyright laws catch up with the collage aesthetic, the limited legality of fair use rights has the potential to stifle creativity and the free exchange of ideas.

Works: Danger Mouse (Brian Burton): The Grey Album (79-81); Freelance Hellraiser (Roy Kerr): A Stroke of Genie-us (82, 86-87); Soulwax: Smells Like Teen Booty (82, 84); Alan Copeland: Mission: Impossible Theme/Norwegian Wood (85); Negativland: U2 (88); Illegal Art: Sonny Bono is Dead (91), Deconstructing Beck (91).

Sources: The Beatles (John Lennon, Paul McCartney, George Harrison, Ringo Starr): The White Album [The Beatles] (79-81); Jay-Z: The Black Album (79-81); Kurt Cobain, Dave Grohl, and Krist Novoselic (songwriters), Nirvana (performers): Smells Like Teen Spirit (82, 84); Rob Fusair, Falonte Moore, and Beyoncé Knowles (songwriters), Destiny?s Child (performers): Bootylicious (82, 84); Eminem: Without Me (84-85); Kevin Rowland, Big Jim Paterson, and Billy Adams (songwriters), Dexy's Midnight Runners (performers): Come On Eileen (84-85); U2: I Still Haven?t Found What I?m Looking For (88). (AJS)

Index classifications: 1900s, 2000s, Popular

McLeod, Ken. "Bohemian Rhapsodies: Operatic Influences on Rock Music." Popular Music 20 (May 2001): 189-203.

Although opera and rock music are seemingly situated on different sides of a cultural, stylistic, and aesthetic divide, rock and pop songs of the 1970s and later have occasionally appropriated some style characteristics from opera. Although many rock works are considered "rock operas" and some classical works were written by rock musicians, none of these works owes much to the stylistic norms of the other genre. On the other hand, a work like Queen's Bohemian Rhapsody (from the 1974 album A Night at the Opera) does incorporate many operatic characteristics, such as a cappella vocals, lamenting ballads, sarcastic recitatives, distorted operatic phraseology, underworld motifs, and so forth. These characteristics are not instances of direct borrowing of any operatic source, but are rather more general features of the style, integrated and exaggerated as a parody. Punk rock artists in the 1980s like Nina Hagen, Klaus Nomi, and Malcolm McLaren incorporated opera more directly, with more reverence for the genre, and with the intention of promoting female and homosexual voices. Hagen incorporated expressionist operatic influences and coloratura technique into her music. Nomi appropriated entire operatic arias into his eclectic music, including Handel's aria "Total Eclipse" from Samson, not as a parody but rather with a camp aesthetic. McLaren created dance-rock versions of grand opera, including "Un bel dì" from Madama Butterfly and the "The Flower Duet" from Délibe's Lakmé.

Works: Freddie Mercury (songwriter), Queen (performers): Bohemian Rhapsody (192-194); Nina Hagen: New York, New York (196); Kristian Hoffman (songwriter), Klaus Nomi (performer): Total Eclipse (197-98); Purcell (composer), Klaus Nomi (arranger/performer): The Cold Song (197); Saint-Saëns (composer), Klaus Nomi (arranger/performer): Samson and Delilah (Aria) (197); Malcolm McLaren: Madame Butterfly (198-99).

Sources: David Bowie: Fashion (196); Purcell: King Arthur (197); Saint-Saëns: Samson et Dalila (197); Handel: Samson (197-98); Puccini: Madama Butterfly (198-99); Délibe: Lakmé (199). (MC)

Index classifications: 1900s, Popular

McLeod, Ken. "'A Fifth of Beethoven': Disco, Classical Music, and the Politics of Inclusion." American Music 24 (Autumn 2006): 347-363.

For a short time in the 1970s, disco provided a place in which various cultures could coexist on the dance floor, and such diversity is reflected in the music, such as in Walter Murphy's A Fifth of Beethoven and David Shire's A Night on Disco Mountain. Murphy's A Fifth of Beethoven is primarily based on the first theme area of Beethoven's Symphony No. 5 and opens with a quotation from the opening of the first movement. This opening motive is set against a 4/4 disco pattern of electric bass, acoustic drum set, and clavinet playing composed material. Recalling the French horn bridge to the second theme area, Murphy alternates C and Eb whole notes, marking the beginning of the B section, but, rather than following sonata form, Murphy keeps A Fifth of Beethoven firmly in C minor throughout. By not modulating and by using static harmonies and a persistent rhythmic drive, A Fifth of Beethoven exemplifies the "inclusive homogeneity" that was a marker of disco style. Shire's A Night on Disco Mountain, like its Mussorgsky source, employs a wide range of sources for its orchestration, including a wah-wah electric guitar. The combination of sounds serves as a reflection of the diversity on the disco dance floor. While this was a short-lived phenomenon, disco borrowings of classical music served to exemplify the pluralism of disco.

Works: Walter Murphy: A Fifth of Beethoven (349-57, 260-61); David Shire: A Night on Disco Mountain (349-51, 357-58, 360-61).

Sources: Beethoven: Symphony No. 5 in C Minor (351-56); Mussorgsky: Night on Bald Mountain (349-51, 357-58, 360-61). (KO)

Index classifications: 1900s, Popular

Meckna, Michael. "Sacred and Secular America: Virgil Thomson's Symphony on a Hymn Tune." American Music 8 (Winter 1990): 465-76.

Virgil Thomson's Symphony on a Hymn Tune is based upon at least two hymn tunes: How Firm a Foundation and Jesus Loves Me. Thomson highlights the similarities of the two tunes and at the finale, they coalesce into For He's a Jolly Good Fellow. Thomson juxtaposed the clear A-major tonality of the hymns with newly composed passages in E-flat major, highlighting a dissonant tritone relationship. This procedure conveys a musical clash that symbolizes "dark forces at work in the New World."

Works: Thomson: Symphony on a Hymn Tune.

Sources: Bradbury: Jesus Loves Me (467-68, 470-73); Traditional: How Firm a Foundation (467-69, 471-73), For He's a Jolly Good Fellow (467, 473-74). (EU)

Index classifications: 1900s

Meconi, Honey, ed. Early Musical Borrowing. New York: Routledge, 2004.

This collection of essays concerns the practice of musical borrowing within fifteenth- and sixteenth-century music. Topics explored include questions of allusion and citation in motets and masses, the cultural contexts of masses, the process for naming masses, and types of borrowing utilized by composers. See the following authors for abstracts of individual articles: M. Jennifer Bloxam, Cathy Ann Elias, Michele Fromson, Jenny Hodgson, Honey Meconi, Christopher Reynolds, Murray Steib, and Andrew H. Weaver. (MER)

Index classifications: 1400s, 1500s

Meconi, Honey. "Art-Song Reworkings: An Overview." Journal of the Royal Musical Association 119 (1994): 1-42.

From the mid-fifteenth century until about 1520, there was a strong tradition of reworking polyphonic art songs (i.e., secular compositions not derived from popular melodies and drawn from Flemish and Italian sources in addition to chansons). A relatively small number of models were used repeatedly, generating a large repertory of derived compostions. It is possible that composers consciously decided to use these limited models as a type of "contest" to demonstrate their craft, possibly beginning with Fors seulement. Cantus-firmus settings were written early in the tradition but became predominant later. There is no pattern of "progression" in the types of reworkings employed. Italy seems to be an important center for the art-song reworking, perhaps due to the influx of northern composers, an impatience with the forme-fixe chanson, and the development of instrumental virtuosity.

Sources: Hayne van Ghizeghem: Allez regretz (4, 5, 24, 26), De tous biens plaine (4, 5, 7, 11, 12, 17, 27-28); Gilles Binchois (?): Comme femme (4, 7, 11-12, 26); Johannes Ockeghem: D'ung aultre amer (4, 7, 11, 28-29), Fors seulement (4, 5, 14-15, 17, 20-21, 23-24, 30-31), Ma bouche rit (4, 35); Jacques Barbireau: Een vrolic wesen (4, 5, 15, 18, 29-30); Anonymous: Fors seulement, two subsidiary settings (4, 5, 10, 31), O waerde mont (4, 15, 36); Antoine Busnois (?): Fortuna desperata (4, 5, 7-8, 11-12, 13, 15, 17, 31-33); Caron (?): J'ay pris amours (4, 7, 9-10, 15, 18-19, 20, 24, 33-34); Guillaume Dufay (?): Le serviteur (4, 8-9, 19-20, 34); John Bedyngham or John Dunstable: O rosa bella (4, 12-14, 15, 24, 35-36). (FC)

Index classifications: 1400s, 1500s

Meconi, Honey. "Does Imitatio Exist?" Journal of Musicology 12 (Spring 1994): 152-78.

Until the later sixteenth century there is insufficient evidence to support the notion put forth by scholars such as Howard Brown, Leeman Perkins, and J. Peter Burkolder that compositional procedures involving polyphonic borrowing derive from composers' conscious adoption of rhetorical ideas of imitatio. Moreover, many of the respective techniques and principles were fundamentally different. Literary imitatio had as its goal the restoration of classical rhetoric through emulation, whereas musical borrowing had no such aim. As an alternative to imitatio, one should consider the following reasons for musical borrowing in the early renaissance: (1) it was a natural outgrowth of Medieval practice; (2) it was a means of unifying a multi-sectional work; (3) as composers began to think in terms of vertical sonorities, it was natural to borrow such sonorities; (4) compositional curiosity resulted in the reuse of one's own material; (5) it was a time-saving device; (6) it was often the result of specific commissions; or (7) it intrigued the composer. (JSL/RLS)

Index classifications: 1400s, 1500s

Meconi, Honey. "Habsburg-Burgundian Manuscripts, Borrowed Material, and the Practice of Naming." In Early Musical Borrowing, ed. Honey Meconi, 111-24. New York: Routledge, 2004.

In the fifteenth and sixteenth centuries, there was no uniform practice for titling masses in manuscript sources. Though modern scholarship has traditionally listed masses under the name of the borrowed material, works within manuscript sources were often identified by number of voices, by a title indicating the devotional function, or by no title at all. This is typical of Pierre de La Rue's output-contained in large quantities within the Habsburg-Burgundian court manuscripts-and provides a basis for investigating the justification of our modern practice and understanding the nature of naming in the Renaissance. The Habsburg-Burgundian manuscripts contain an extensive amount of rubrification, often citing the presence of preexisting material. Scribes wrote the model under one voice or provided multiple under-texting within the opening of the mass. La Rue's works show that even in the case of citations, masses were not titled according to the borrowed model. If the under-texting by scribes did not influence the name of the mass, then its primary purpose could have been to create more visual appeal and, more importantly, to call attention to the presence of the borrowed material. In addition, the popularity of the parody mass at court made musicians and scribes more attuned to the presence of polyphonic borrowing. A mass with preexisting material was more likely to be copied than sine nomine masses or those with modal identities. Modern scholars identify the mass by its model because of the analytical value attached to the borrowed model and because early music historiography emphasized naming masses in this way. Closer attention to the naming of compositions within their sources will highlight the complexities of identity and construction within this music. (MER)

Index classifications: 1400s, 1500s

Meconi, Honey. "Introduction." In Early Musical Borrowing, ed. Honey Meconi, 1-5. New York: Routledge, 2004.

The study of borrowing has been a powerful tool for analysis of music in the Renaissance period and has provoked arguments and fierce debates over defining borrowing types, providing a terminology for them, and understanding why and how composers did what they did. Controversies have arisen over "imitation" or "parody" as terms for polyphonic borrowing, differences between paraphrase and cantus firmus technique, issues of overt and covert borrowing, and whether borrowing is taking place at all. Compiling a history of borrowing in the Renaissance-in light of these challenges and when considering that much more basic research needs to be completed for many composers-seems an impossible task at this stage, but the essays within this book provide a guide to further investigation and show how borrowing remains a compelling approach to analysis and criticism of early music. (MER)

Index classifications: 1400s, 1500s

Meconi, Honey. "Sacred Tricinia and Basevi 2439." I Tatti Studies 4 (1991): 151-99.

Index classifications: 1400s

Médicis, François de. "Tristan dans La Mer: Le crépuscule wagnérien noyé dans le zénith debussyste?" Acta Musicologica 79 (2007): 195-251.

Index classifications: 1900s

Meier, Bernhard. "Melodiezitate in der Musik des 16. Jahrhunderts." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 20 (1964-65): 1-19.

This essay lists and briefly discusses a number of sixteenth-century works, which incorporate borrowed material. Meier sometimes only indicates the origins of the borrowed material and sometimes also refers to its meaning. The examples are loosely grouped into two categories, those quoting Gregorian chant and those quoting other composers and Cypriano de Rore in particular. Composers do not borrow only from closely-related works or works in the same genre; a common word may be reason enough for quotation. The quoted passage can also be transposed to another mode, which changes the arrangement of the half and whole steps, but leaves the passage still recognizable. Quotation in the sixteenth century reflects the "learned" character of the music and shows in the case of the Gregorian melodies how familiar they still were.

Works: Josquin: Miserere mei Deus (1), Vultum tuum deprecabuntur (2); Senfl: Miserere mei Deus (1); Lassus: Psalmus Poenitentialis, No. 4 (1), Pater Abraham (2), Venite ad me (2), five-part Lamentations, No. 1 (2), Nunc gaudere licet (3), Fertur in conviviis/Vinus, vina, vinum (3), Donec malos angelos/Venientes cernant, /Cantantes his non fore/Requiem aeternam (3), Il estoit une religieuse (3), Octo beatitudines (8); Clemens non Papa: Nunc dimittis servum tuum Domine (1), Discite a me (2); Susato: Salve Antverpia, gemma, flos, venustas Europea (3); Rore: Concordes adhibete animos (3); Barbigant or Ockeghem: Au travail suis (3); Striggio: Anchor ch'io possa dire (4); Vespa: Anchor che la partita (4, 6); Caracciolo: Anchor che gran dolore (4); Ingegneri: Lasso che nel partire (4), Come la notte (7); Andrea Gabrieli: A caso un giorno (4); Portinaro: Vergine bella (4), Il dì s'appressa (4); Rossetto: Hor che'l ciel e la terra (5), Lasso che mal accorto (6); Chamaterï: Hor che'l ciel e la terra (5), Deh hor foss'io (7); de Monte: Fu forse un tempo (6); Animuccia: Alla dolc'ombra (6); Wert: Lasso che mal accorto (6); Merulo: Come la notte (7); Palestrina: Deh hor foss'io (7); Pordenon: Deh hor foss'io (7), Gravi pene (8); Paien: Gravi pene (8); Guami: Gravi pene (8), A la dolce ombra de la nobil pianta (10); Lechner: O Tod du bist ein bittre Gallen (8); Lupacchino: Onde tolse amor (8); Asola: Vergine bella (10), Vergine in cui (10). (AG)

Index classifications: 1500s

Meintjes, Louise. "Paul Simon's Graceland, South Africa, and the Mediation of Musical Meaning." Ethnomusicology 34 (1990): 37-73.

Paul Simon's Graceland is an excellent example of both artistic and stylistic collaboration. Simon and Ladysmith Black Mambazo navigate through traditional South African and American popular styles in a constantly changing compositional process. Three songs from this album, "Gumboots," "The Boy in the Bubble," and "That Was Your Mother," are particularly interesting because they are cover versions of African popular songs. Simon credits the authors of the first two songs, but neglects to do so for the third. The differences in crediting represent the complex issues of collaboration on an international scale. (FMM)

Index classifications: 1900s, Popular

Mellers, Wilfred. "John Bull and English Keyboard Music." The Musical Quarterly 40 (July 1954): 364-83 and 40 (October 1954): 548-71.

Index classifications: 1600s

Melville, Ruth. "The Chorale Preludes of Johann Pachelbel." Bulletin of the American Musicological Society 3 (April 1939): 11-12.

Pachelbel combined traits of the Catholic and Protestant schools of organ playing, assimilating polyphonic and homophonic elements in the development of the prelude form. His chorale preludes can be grouped into two types: chorale fugue and setting of the complete chorale as a cantus firmus. A third type uses a combination of these two, with the fugue leading into the full cantus firmus statement. In setting the chorale as a cantus firmus, Pachelbel is innovative, treating the cantus firmus imitatively while also presenting it in two-, three-, or fourfold augmentation. The cantus firmus is often paired with either a figurative accompaniment or with a purely harmonic accompaniment in which the voices move independently. In Pachelbel's chorale preludes he reveals a desire to achieve harmonic clarity and to showcase the melody. (MER)

Index classifications: 1600s, 1700s

Memelsdorff, Pedro. "Motti a Motti: Reflections on a Motet Intabulation of the Early Quattrocento." Recercare 10 (1998): 39-67.

A structural study of the tenor of a previously unidentified polyphonic intabulation, included in the Faenza Biblioteca Comunale Fa117, provides important clues in regard to its origin. An initial investigation of the tenor shows similarities with the four isorhythmic motets of Johannes Ciconia, especially his Doctorum principem. Close parallels between specific sections of the unidentified work and Doctorum principem support this hypothesis, but other factors need to be considered. The hoquetus which occurs at the end of the first two statements of the talea in the intabulation is not repeated after the third repetition. Comparing this phenomenon to the works in the manuscript, it seems possible that the intabulation is actually transcribed from a Mass movement and the missing hoquetus falls right where an Amen would have been sung. The original three-voiced polyphonic work may be partially reconstructed from the two-voiced intabulation by interpolating the autoimitations in the cantus.

Works: Faenza Biblioteca Comunale Fa117, fols. 93r-94r (46-67).

Sources: Johannes Ciconia: Doctorum principem (50-53). (REG)

Index classifications: 1400s

Mengozzi, Stefano. "'Is this Fantasia a Parody?': Vocal Models in the Free Compositions of Francesco da Milano." Journal of the Lute Society of America 23 (1990): 7-17.

Many free instrumental compositions from the Renaissance, including fantasias, ricercares, and tientos, were modeled on the contemporary vocal repertory. Two fantasias by Francesco da Milano show a significant relationship between intabulations and free compositions. Francesco's intabulation of Richafort's chanson De mon triste desplaisir leaves harmonic and thematic materials largely unchanged, while his Fantasia de mon triste parodies the vocal model up to a certain point, after which it departs from the original by introducing new subjects and motives. The fantasia, though intentionally based on a vocal model, can still be loosely related to the original; when a fantasia is well composed, it evokes the model without directly quoting from it. Francesco's Fantasia 22 contains melodic musical material that appears to be derived from Jacob Arcadelt's madrigal Quanta beltà. Francesco had previously intabulated the Arcadelt madrigal, and the model for Fantasia 22 may be Francesco's own arrangement of the madrigal, rather than the madrigal itself. Melodic materials developed in the fantasia are drawn from modified versions of the melody in the intabulation. There are, however, still correspondences between the fantasia and the madrigal. Motives borrowed from the madrigal are reworked in the fantasia in the same order in which they occur in the vocal model. The two fantasias show how free instrumental works, with the mediation of intabulations, were still closely modeled on contemporary vocal repertory.

Works: Francesco da Milano: Intabulation of De mon triste desplaisir (10), Fantasia de mon triste (10-11), Intabulation of Quanta beltà (13-15), Fantasia 22 (13-16).

Sources: Richafort: De mon triste desplaisir (10); Arcadelt: Quanta beltà (13-15). (JSB/STG)

Index classifications: 1500s

Mercer-Taylor, Peter. "Mendelssohn in Nineteenth-Century American Hymnody." 19th-Century Music 32 (Spring 2009): 235-83.

Index classifications: 1800s

Mercer-Taylor, Peter Jameson. "Symphony and Cantata: Illusions of Identity in the Reformation Symphony." In "Mendelssohn and the Musical Discourse of the German Restoration," 103-37. Ph. D. diss., University of California at Berkeley, 1995.

During the time of the Bach revival he led, Mendelssohn modeled many of his compositions upon the style of J. S. Bach. Mendelssohn used J. S. Bach's setting of Ein feste Burg in the fourth movement of his "Reformation" Symphony and incorporated the chorale into a programmatic setting. Meyerbeer subjected Ein feste Burg to variation treatment interspersed with the typical structural elements of a sonata-form movement. With the bridge to the recapitulation, Meyerbeer blurred the formal distinctions between the chorale and the symphonic sonata movement in order to suggest a choral movement. This alludes to the choral movement of Beethoven's Ninth Symphony, even though Meyerbeer does not actually use a chorus. The other movements also include quotations, including a Catholic "Dresden Amen" in the first movement and allusion to Mozart's Cosi fan Tutte in the second movement.

Works: Mendelssohn: Symphony No. 5 in D minor, Reformation (111-37).

Sources: J. S. Bach: "Ein feste Burg" from In festo Reformationis, BWV 80 (112, 114-20, 122-24); Beethoven: Symphony No. 9 in D Minor (113); Mozart: Cosi fan Tutte (131-32). (KJL)

Index classifications: 1800s

Messing, Scott. Neoclassicism in Music: From the Genesis of the Concept through the Schoenberg/Stravinsky Polemic. Rochester, N.Y.: University of Rochester Press, 1996.

Index classifications: 1900s

Metz, Günther. "Das Webern-Zitat in Hindemiths Pittsburgh Symphony." Archiv für Musikwissenschaft 42 (July 1985): 200-12.

In the 3rd movement (Ostinato) of Hindemith's Pittsburgh Symphony, an abrupt tempo/character change occurs, which eventually arrives at a più tranquillo. At this point, there is a quotation from Webern's Symphony, Op. 21. Hindemith makes several alterations: a nearly doubled metronome marking, an octave (higher) displacement, dynamics, and instrumentation. The intervals themselves are also often reversed or omitted. (MM)

Index classifications: 1900s

Metzer, David. "Musical Decay: Luciano Berio's 'Rendering' and John Cage's 'Europera 5.'" Journal of the Royal Musical Association 125 (2000): 93-114.

In Luciano Berio's Rendering and John Cage's Europera 5, creation of new music through the "restoration" and "reproduction" of old materials offers more than just a way of holding onto the past. Both compositions examine the decay and loss intrinsic to past materials which makes that past less accessible. In Rendering, based on Schubert's sketches toward a tenth symphony, Berio incorporates his own music with sections of Schubert's unfinished symphony, sometimes filling in the gaps in Schubert's sketches, while at other times dismantling and reconfiguring the material to make it sound incomplete. Berio restores Schubert's symphony not in the traditional sense, but rather to a fragmented state which suggests the deterioration of the past. Europera 5 similarly pieces together fragments of past operas to suggest that the concept of opera has deteriorated. Cage's nostalgia mediates a sense of loss through presentation of these fragments as disjointed, antique, and irrecoverable.

Works: Berio: Rendering (95-103, 108-113), Chemins (96), Sinfonia (96, 113); Cage: Europera 5 (95, 103-113), Europera 1 & 2 (103-104).

Sources: Mahler: Symphony No. 2 in C Minor (96, 113) Schubert: Symphony No. 10 (96-103, 108-113); Cage: Truckera (104). (BCR)

Index classifications: 1900s

Metzer, David. "The Promise of the Past: Rochberg, Berio, and Stockhausen." In Quotation and Cultural Meaning in Twentieth-Century Music, 108-59. Cambridge: Cambridge University Press, 2003.

Composers who rejected serialism used quotation in their collage works as a source of promise and new possibilities. Rochberg seeks to use the music of the past in the form of ars combinatoria in Music for the Magic Theater, thus renewing both the past and present. Berio tries to create a bond between the past, present and a utopian future in the third movement of Sinfonia. In Hymnen, Stockhausen uses the medium of electroacoustic music in order to encompass global dimensions and develop a "sonic purity." By creating links between elements where none had previously existed, each composer responds differently to the use of quotation in the quest for utopia.

Works: Berio: Sinfonia (109-13, 128-39); Rochberg: Music for the Magic Theater (110-28), Third Symphony (125-28); Stockhausen: Hymnen (110-13, 139-59).

Sources: Mozart: Adagio from Divertimento No. 15, K. 287 (121-25); Mahler: Symphony No. 9 in D Major (123-25), Symphony No. 1 in D Major (Titan) (126), Symphony No. 2 in C Minor (Resurrection) (126, 129-39); Varèse: Déserts (123); Beethoven: String Quartet No. 13 in B-flat Major, Op. 130 (124-25), Missa Solemnis (126), Symphony No. 3 in E-flat Major, Op. 55 (126-28), Symphony No. 5 in C Minor, Op. 67 (126), Symphony No. 9 in D Minor, Op. 125 (126); Schütz: Saul, was verfolgst du mich (126); J. S. Bach: Chorale Prelude on Durch Adams Fall, BWV 637 (126); Ives: The Unanswered Question (126-27); Richard Strauss: Der Rosenkavalier (136); Boulez: Don (136-38); Webern: Cantata, Op. 31 (137). (AJS)

Index classifications: 1900s

Metzer, David. Quotation and Cultural Meaning in the Twentieth-Century Music. New Perspectives in Music History and Criticism. Cambridge: Cambridge University Press, 2003.

See annotations for individual chapters.

Index classifications: 1900s, Popular

Metzer, David. "Sampling and Thievery." In Quotation and Cultural Meaning in Twentieth-Century Music, 160-87. Cambridge: Cambridge University Press, 2003.

Sampling constitutes a form of creative theft that should be seen within the history of musical borrowing. Sampling is mainly associated with digital technology beginning around 1980, and it is used in two main ways: to sample performance sounds, such as a cymbal crash, or to sample more extended sounds. One group that exemplifies creative theft is Negativland. who sampled the lead singer of U2 singing I Still Haven't Found What I'm Looking For and turned the singer into a whining voice. The artist Scanner travels the airwaves sampling personal phone calls. John Oswald sampled Michael Jackson's voice in BAD to create Oswald's own DAB. Oswald removed all markers of Jackson's voice until it no longer sounded like the artist, and, in so doing, used Jackson's own medium against him. This new form of musical borrowing, creative theft, is appropriate for our media-saturated environment.

Works: Puff Daddy and Faith Evans: I'll Be Missing You (160); Wyclef Jean: We Trying to Stay Alive (160); Janet Jackson: Got 'til it's Gone (160); Negativland: U2 (162, 166-67, 169-70); John Oswald: Plexure (171), Plunderphonic (177), DAB (178-81); Scanner: Sulphur (175); Tape-Beatles: Music with Sound (181-83).

Sources: Sting (songwriter), The Police (performers): Every Breath You Take (160); Bee Gees (Barry Gibb, Robin Gibb, and Maurice Gibb): Stayin' Alive (160); Joni Mitchell: Big Yellow Taxi (160, 163-64); U2: I Still Haven't Found What I'm Looking For (167); Buck Ram (songwriter), Dolly Parton (performer): The Great Pretender (177); Michael Jackson: BAD (178-81). (KO)

Index classifications: 1900s, Popular

Metzer, David. "Shadow Play: The Spiritual in Duke Ellington's 'Black and Tan Fantasy.'" Black Music Research Journal 17, no. 2 (Fall 1997): 137-58.

The inclusion of an African-American spiritual in Ellington's Black and Tan Fantasy follows the ideas set forth by many writers during the Harlem Renaissance. Ellington takes the Renaissance ideals a step further by integrating the spiritual with blues, urban jazz, call-and-response, and even a quotation of Chopin's funeral march. Bubber Miley, cornetist and co-composer in the Ellington band, bases the opening motive of the fantasy on a spiritual he heard his mother singing while he was a child. However, the spiritual is not truly African-American in its origins. A friend of Miley pointed out that the spiritual is derived from "The Holy City," a sacred song in the style of a spiritual but by the white composer Stephen Adams. This white sacred tune is transformed through Miley's performance practice of bending the pitches, growling, and vocal ya-yas. These issues moved the spiritual away from Du Bois's ideas of the "sorrow song" with lush, pleasant, and Europeanized harmonies and toward Hurston's ideas of the spiritual, which strives for the unrefined sounds of the "real Negro singer." Black and Tan Fantasy was not the only jazz composition to draw upon "The Holy City." King Oliver and His Creole Jazz Band incorporated the sacred work into a twelve-bar blues, and Johnny Dodds responds to the text and music of "The Holy City" in his composition "Weary City."

Works: Ellington/Miley: Black and Tan Fantasy (137-58); Oliver: Chimes Blues (151); Dodds: Weary City (151-53).

Sources: Adams: The Holy City (137-58); Chopin: Piano Sonata No. 2 in B flat Minor (140). (MDA)

Index classifications: 1900s, Jazz

Metzer, David. "'We Boys': Childhood in the Music of Charles Ives." 19th-Century Music 21 (Summer 1997): 77-95.

The desire to return to one's childhood or the adult's recollection of a lost youth figure prominently as themes in the music and texts of Charles Ives. The composer's view of an innocent childhood fit into a larger American cultural trend in the first decades of the twentieth century as realized through nostalgic or sentimental ballads and regression fantasies acted out in literature and film of that time. By distorting borrowed melodies, Ives heightens distance between past and present, increasing the sense of nostalgia. The tune The Old Oaken Bucket is deeply embedded in Tom Sails Away, and its original lyrics also depict memories of childhood. The fragmented and sometimes cloudy quotations of The Beautiful River during the third movement of Ives's Fourth Violin Sonata suggest an impossible union between the boys and men of the hymn's lyrics. The melody of The Beautiful River materializes throughout the movement, but Ives prevents the melody from emerging in its entirety, thus suggesting the vagueness of memory and the distance between generations.

Works: Charles Ives: Tom Sails Away (81-87), Violin Sonata No. 4 (87-91).

Sources: George M. Cohan: Over There (84, 87); David T. Shaw, Columbia, the Gem of the Ocean (84, 87); Samuel Woodworth and George Kiallmark: The Old Oaken Bucket (Araby's Daughter) (84-87); Anonymous: Taps; George Ives: Fugue in B-flat Major (87); Robert Lowry: The Beautiful River (88-89). (DRN/AJS/ALW)

Index classifications: 1900s

Meyer, Felix. "Adaptation--Transformation--Rekomposition: Zu einigen Liedbearbeitungen von Charles Ives." Archiv für Musikwissenschaft 60, no. 2 (2003): 115-35.

Index classifications: 1900s

Meyer, Felix. "The Art of Speaking Extravagantly": Eine vergleichende Studie der "Concord Sonata" und der "Essays Before a Sonata" von Charles Ives. Berne and Stuttgart: Paul Haupt, 1991.

Index classifications: 1900s

Meyer, John A. "Beethoven and Bartók--A Structural Parallel." The Music Review 31 (November 1970): 315-21.

Bartók owed and admitted a direct allegiance to Beethoven, especially in the area of progressive form as a technique of composition. The second movement of Beethoven's G Major Piano Concerto is a model for the second movements of Bartók's Second and Third Piano Concertos in two main ways: (1) the principle of opposition between two rivals rather than integration of two partners is seen in sections of dialogue alternating between solo instrument and orchestra accentuated by differences in texture, thematic material, and the treatment of thematic material; and (2) piano and orchestra seem to follow completely logical development independent of each other, but the separate thematic complexes have the same basic roots. Mention is made of the relation between the third movement of Beethoven's Quartet in A Minor, Op. 132, and Bartók's Third Piano Concerto, suggested to be a last tribute to his three great masters: Beethoven in forms and methods of construction, Debussy in the impressionism of the night music, and Bach in the polyphonic episodes of the finale.

Works: Bartók: Piano Concerto No. 2, Piano Concerto No. 3; Franck: Symphonic Variations (320), Quintet in F Minor for Piano and Strings (320). (JP)

Index classifications: 1900s

Meyer, John A. "The Keyboard Concertos of Johann Christian Bach and Their Influence on Mozart." Miscellanea Musicologica: Adelaide Studies in Musicology 10 (1979): 59-73.

J. C. Bach was one of the very few composers Mozart greatly admired. His keyboard concertos opp. 1, 7, and 13 influenced Mozart's piano concertos in the following areas: structural principles of the first movement including the use and expansion of ritornellos and solo sections; the use of wind instruments; the cantabile melodic style of the slow movement; and the use of Minuet or dance, Rondo, or Variation forms in the last movement. Op. 7 particularly sets a model for the newly developed concerto form.

Works: Mozart: Piano Concerto No.6 in B-flat Major, K. 238 (62, 64), Piano Concerto No. 8 in C Major, K. 246 (62-63), Piano Concerto No. 9 in E-flat Major, K. 271 (61-65, 71-72), Piano Concerto No. 11 in F Major, K. 413 (64), Piano Concerto No. 17 in G Major, K. 453 (66), Piano Concerto No. 24 in C Minor, K. 491 (66).

Sources: J. C. Bach: Keyboard Concerto in G Major, Op. 1, No. 4 (60-61), Keyboard Concerto in D Major, Op. 1, No. 6 (60-61, 64, 73), Keyboard Concerto in E-flat Major, Op. 7, No. 5 (62-66, 70-72), Keyboard Concerto in D Major, Op. 13, No. 2 (67, 70-71, 73), Keyboard Concerto in B-flat Major, Op. 13, No. 4 (67, 72-73), Keyboard Concerto in E-flat Major, Op. 13, No. 6 (66, 73). (TC)

Index classifications: 1700s

Michael, George Albert. "The Parody Mass Technique of Philippe de Monte." Ph.D. diss., New York University, 1959.

Parody occurs if at least two voices from a polyphonic composition are borrowed simultaneously. Monte avoids exact quotation except at the beginning of a movement, treating the material with increasing freedom as the Mass unfolds. He reworks not only individual strands but the whole polyphonic complex, thus making it unrecognizable. The adjustments include a great variety of techniques. (1) A discrepancy in the number of syllables between model and Mass and the observation of correct accentuation may require rhythmic changes. (2) Monte simplifies a melody by omitting non-essential notes, or he elaborates it by introducing passing and auxiliary notes. (3) The composer often alters the polyphonic organization of his models, changing the number of imitative entries and rearranging them horizontally and vertically. (4) Encompassed under the label "development" are techniques such as the vertical combination of two subjects from the model, the borrowing of a polyphonic complex while adding a free part, and the construction of a longer imitative section based on an insignificant motive of the model. The fact that Monte borrows from composers such as Palestrina, Striggio, Wert, and Lassus shows a predominant interest in works of his contemporaries.

Works: Monte: Missa Cara la vita mia (49, 67, 78, 88, 141, 143), Missa Ancor che col partire (50, 63, 83, 101, 135, 154, 172), Missa Inclina cor meum (54, 89, 92, 103, 128, 154), Missa Quando lieta sperai (56, 66, 69, 75, 78, 96, 99, 115, 145, 154, 171), Missa Nasce la pena mia (58, 66, 69, 137, 151, 154), Missa Quam pulchra es (61), Missa Ultima miei sospiri (69), Missa La dolce vista (71, 85, 107, 147, 152), Missa Aspice domine (90, 109, 123, 139, 153), Missa Benedicta es coelorum regina (95), Missa Reviens vers moy (97, 107, 113, 153), Missa Cum sit omnipotens rector Olympi (107, 117, 146, 154), Missa O altitudo divitiarum (138, 140, 153, 155), Missa Ma cueur se recommande a vous (149), Missa Vestiva i colli (152, 155), Missa Confitebor tibi Domine (154). (AG)

Index classifications: 1500s

Micznik, Vera. "Meaning in Gustav Mahler's Music: A Historical and Analytical Study Focusing on the Ninth Symphony." Ph.D. diss., State University of New York at Stony Brook, 1989.

Index classifications: 1900s

Micznik, Vera. "Of Ways of Telling, Intertextuality, and Historical Evidence in Berlioz's Roméo et Juliette." 19th-Century Music 24 (Summer 2000): 21-61.

Index classifications: 1800s

Middleton, Jason, and Roger Beebe. "The Racial Politics of Hybridity and 'Neo-Eclecticism' in Contemporary Popular Music." Popular Music 21 (May 2002): 159-72.

Producers of popular music at the turn of the twenty-first century developed hybrid music forms which combine rock music with styles and sounds of its competitors, particularly hip-hop. For example, groups such as Limp Bizkit graft the sound of record scratching and rapping into a rock band context, although record scratching is used as a sound in and of itself rather than in the service of sampling or other hip-hop musical devices. Additionally, music videos of these hybrid groups integrate visual components of both rock and rap videos. These groups assert their authenticity through textual, aural, and visual signifiers of a low socioeconomic status, which supposedly signals an allegiance with blacks.

Works: Limp Bizkit: Nookie (163, 167); Eminem: Guilty Conscience (163-64); Kid Rock: Cowboy (164-65); Dexter Holland (songwriter), The Offspring (performers): Pretty Fly (For a White Guy) (165-66).

Sources: N.W.A.: Straight Outta Compton (164-65). (AJS)

Index classifications: 1900s, Popular

Middleton, Richard. "Work-in(g)-Practice: Configurations of the Popular Music Intertext." In The Musical Work: Reality or Invention?, ed. Michael Talbot, 59-87. Liverpool: Liverpool University Press, 2000.

Popular music, as practice, differs from classical music, as a repertoire of iconic objects, in that the former places less emphasis on authorial attribution, involves greater collaboration between musicians, has blurred the distinction between "performance" and "composition," and overall features widespread use of borrowing procedures. "Intertextuality" is the best term that encompasses the borrowing practices of popular music. "Remixes" are one type of borrowing procedure, in which old songs are digitally re-worked in a new context. Bill Laswell creates remixes of the music of Miles Davis and Bob Marley. In the Davis remix, Laswell streamlines 38 minutes of music into fifteen, clarifies the instrumentation and textures through digital technology, reorders seamlessly connected sections, and highlights the similarities between all included source materials. Through his creative process, Laswell emerges more as a composer of something new, rather than a "remixer" of something old. In addition, the artist presents a remix of Marley's songs, but removes all of his prominent vocals. The result is not reggae, but rather a new "ambient gospel" genre. In part, these modern borrowing procedures in popular music have precedent in Western music history and are part of a long-established vernacular tradition. Other influences in popular music practice include multi-voiced repetition, best characterized as African-American "Signifyin(g)," which opposes the traditional Western concept of the singular "composer's voice." A semiotic dialogical theory can address these issues in popular music intertextuality. A final issue to consider is the opposition that emerges between intertextual musical performance and popular music recording, which preserves a specific version of a given song at its moment in time and highlights solo individualism. Remixes and cover songs highlight this tension; to accommodate this, one's analytical model must account for an "originating moment," the version of a song that is to be the measure for all others that re-create it.

Works: Bill Laswell: Panthalassa: The Remixes (62-67), Dreams of Freedom: Ambient Translations of Bob Marley in Dub (62, 67-71); Bob Marley: One Love (People Get Ready) (71); Grandmaster Flash: The Adventures of Grandmaster Flash on the Wheels of Steel (79-80); Richard Ashcroft [Verve]: Bittersweet Symphony (82); Paul Anka: My Way as performed by Elvis Presley (82-83), Sid Vicious (83).

Sources: Joe Zawinul: In a Silent Way as performed by Miles Davis (63-67), Miles Davis: Shhh/Peaceful (63-67), It's About That Time (63-67); Bob Marley: One Love (People Get Ready) (67-69), Exodus (69-71); Curtis Mayfield: People Get Ready (71); Bernard Edwards and Nile Rodgers [Chic]: Good Times (79); John Deacon [Queen]: Another One Bites the Dust (79-80); Debbie Harry and Chris Stein [Blondie]: Rapture (79-80); Grandmaster Flash: Birthday Party (79); Sugarhill Gang: 8th Wonder (79); Spoonie Gee (Gabriel Jackson): Monster Jam (79); Mick Jagger and Keith Richards [Rolling Stones]: The Last Time (82); Paul Anka: My Way as performed by Frank Sinatra (82-83). (VLM)

Index classifications: 1900s, Popular

Mielke, Andreas. Untersuchungen zur Alternatim-Orgelmesse. Kassel: Bärenreiter, 1996.

Index classifications: 1400s, 1500s, 1600s, 1700s, 1800s

Mihajlov, Mihail. "Esteticeskij fenomen Poceluja fei [The aesthetic phenomenon of Le Baiser de la Fée]." Sovetskaja muzyka 8 (August 1982): 95-102.

Index classifications: 1900s

Mikusi, Balázs. "A pók és a méh: Avagy hogyan kerül Mozart Haydn Évszakok-jába?" Magyar zene: Zenetudományi folyóirat 40 (February 2002): 59-71.

Index classifications: 1700s

Miller, Carl. "Meditations on Benjamin Britten's Nocturnal." Guitar Review 42 (Fall 1977): 15-16.

The Nocturnal after John Dowland, Op. 70, for solo guitar can be described as a set of variations on Come Heavy Sleep, a song for voice and lute from John Dowland's First Book of Songs (London, 1597). The "theme" appears at the end, rather than the beginning of the composition. The composition is in nine sections, the final section of which is a transcription of the Dowland song. The eight preceding variations consist of "bits and pieces" of the song, subjected to various techniques such as abbreviation, transposition, inversion, and other forms of manipulation. All of the variations are somber in character; the overall effect of the composition is macabre, sparse and anxious, with the exception of the final section, which is calm and peaceful.

Works: Britten: Nocturnal after John Dowland (15-16).

Sources: Dowland: Come Heavy Sleep (15-16). (STG)

Index classifications: 1900s

Miller, Clement A. "The Musical Source of Brumel's Missa Dringhs." Journal of the American Musicological Society 21 (Summer 1968): 200-204.

Brumel's Mass is a parody Mass based on his own chanson Tous les regretz, of which two versions exist: (1) Florence, Conservatorio L. Cherubini, MS Basevi 2442, and (2) Brussels, Bibliothèque Royale, MS 11239. One rhythmic feature of the superius (a dotted semibreve followed by two fusa) only appears in the Florence MS and the Mass and it seems thus likely that the version in the Italian source was the actual model. Not only melodic but also harmonic elements are preserved. The first six harmonies of the homophonic chanson can be found either expanded or contracted in the predominantly homophonic Mass. Occasional imitative duo sections draw on motives from the chanson as well.

Works: Brumel: Missa Dringhs

Sources: Brumel: Tous les regretz (AG)

Index classifications: 1400s

Miller, Hugh M. "Sixteenth-Century English Faburden Compositions for Keyboard." The Musical Quarterly 26 (January 1940): 50-64.

British Museum, Additional MS 29996 folios 158-178b contains a set of twenty anonymous pieces labeled with a heading indicating that they are compositions "on the faburden" of a piece of plainchant. "On the faburden" means that faburden, the improvisational technique of singing above a given melody (in this case plainchant) more or less at the interval of a third, was the genesis of the pieces. In these examples, the chant was then dropped, and the new composition was written using the faburden line as the middle voice. The notes of the plainchant and its text incipit are given at the beginning of each piece. The chants used are all hymns found in the Sarum Breviary, in services from Advent through the third sunday of Lent. (NKT)

Index classifications: 1500s

Miller, Leta E. "Lou Harrison and the Aesthetics of Revision, Alteration, and Self-Borrowing." Twentieth-Century Music 2 (March 2005): 79-107.

Lou Harrison's later style is defined in part by his propensity to revise, rework, and borrow from his own compositions. In Harrison's Suite for Symphonic Strings (1960), the first piece in which borrowed from himself, he incorporated works that were written both before and after his most significant stylistic shift, resulting in the juxtaposition of strikingly contrasting styles. Such polystylism even carried over to works that did not borrow any pre-existing music, such as in his Symphony on G. Self-borrowing allowed the composer to restrict his compositional options and focus on novel reworkings and new combinations. The resulting polystylism was a direct result of Harrison's revisions and self-borrowings and became a hallmark of the composer's style.

Works: Lou Harrison: Suite for Symphonic Strings (86-91), Third Symphony (94-100).

Sources: Lou Harrison: Double Fugue (87-88, 90), Triphony (87-88, 91), Fugue for David Tudor (87), Almanac of the Seasons (87), Nocturne (87, 91, 93), Chorale for Spring (88-89), Largo ostinato (94, 96-98, 100-102), Reel to Henry Cowell (96), Waltz for Hinrichsen (96), Estampie for Summerfield (96), Political Primer (96). (KO)

Index classifications: 1900s

Minor, Andrew C. "The Masses of Jean Mouton." Ph.D. dissertation, University of Michigan, 1951.

Index classifications: 1500s

Mitchell, Donald. "An Afterword on Britten's 'Pagodas': The Balinese Sources." Tempo, no. 152 (March 1985): 7-11.

The Prince of the Pagodas is based both on transcriptions that Britten made during his trip to Bali in 1956 and on "Kapi Radja," which he came to know from a recording. Unbeknownst to Britten, "Kapi Radja" was itself based on Young Person's Guide to the Orchestra. (RLS)

Index classifications: 1900s

Mitchell, Donald. Gustav Mahler: The Wunderhorn Years: Chronicles and Commentaries. Boulder, Colo.: Westview Press, 1976.

Index classifications: 1800s, 1900s

Mitchell, Donald. "What Do We Know about Britten Now?" In The Britten Companion, ed. Christopher Palmer, 21-45. Cambridge: Cambridge University Press, 1984.

The influences of Schoenberg, Mahler, Shostakovich, and far Eastern music are among those influences on which perspectives have changed since 1952. Schoenberg provided the influence, much more apparent after 1952, of serial principles, although not of serial techniques, on Britten, evident in such works as The Turn of the Screw, Cantata Academica, A Midsummer Night's Dream, Song and Proverbs of William Blake, Death in Venice, and Owen Wingrave. Mahler's influence, particularly of Das Lied von der Erde, is emphasized in the orchestral song-cycle Our Hunting Fathers. Shostakovich is acknowledged as an influence on Russian Funeral, the Piano Concerto, Op. 13, and Our Hunting Fathers. These three composers, however, are viewed mainly as influences on Britten's compositional principles (Schoenberg, as "a way of thinking"; Mahler, through "shared technical principles"; and Shostakovich, by satire and parody) rather than on his style, although stylistic similarities are present as well. The influence of the music of the Far East first appeared in the ballet The Prince of the Pagodas and the first church parable, Curlew River. The ballet evokes the sound of a Balinese gamelan, while Curlew River is based on the Japanese Noh play Sumidagawa. Britten's earliest opera Paul Bunyan enhibits similarities to Balinese music as well, which may have been suggested while Britten was in New York through his familiarity with the ethnomusicologist Colin McPhee and McPhee's two-piano transcriptions of Balinese music, Balinese Ceremonial Music.

Works: Britten: Sinfonietta, Op. 1 (25), The Turn of the Screw (26), Cantata Academica (26), A Midsummer Night's Dream (26), Songs and Proverbs of William Blake (26), Death in Venice (26, 30, 36, 43, 35), Owen Wingrave (26), Paul Bunyan (28-30, 41-44), Sinfonia da Requiem (31), Our Hunting Fathers (31, 35-36), Russian Funeral (34), Piano Concerto, Op. 13 (34), Variations on a Theme of Frank Bridge (38), The Prince of the Pagodas (39, 42), Curlew River (39). (NS)

Index classifications: 1900s

Miyakawa, Felicia M. "Turntablature: Notation, Legitimization, and the Art of the Hip-Hop DJ." American Music 25 (Spring 2007): 81-105.

Index classifications: 1900s, 2000s, Popular

Monson, Craig. "Authenticity and Chronology in Byrd's Church Anthems." Journal of the American Musicological Society 35 (Summer 1982): 280-305.

While some of Byrd's anthems are contrafacta of his Latin motets, two others are known to borrow from works by other composers. The opening of How long shall mine enemies shares melodic and organizational features with Tallis's I call and cry and Byrd models the conclusion ("But my trust is in thy mercy") on the corresponding section ("Forget my wickedness") of his predecessor, quoting the last three measures quite literally. Although the soprano and alto parts of William Hunnis's verse anthem Alack when I looke back are lost, it can still clearly be recognized as the model of Byrd's setting of the same text. Both compositions correspond in terms of form, melodic material, and techniques, such as quotation of the preexistent tune in an inner part at parallel places. Byrd, however, expands the choruses at the end of each verse and enhances the contrapuntal workmanship.

Works: Byrd: How long shall mine enemies (282-87), Alack, when I look back (295-99), All ye people clap your hands (302), Arise, O Lord, why sleepest thou (302), Behold I bring you glad tidings (302), Behold now praise the Lord (302), Be not wroth very sore (302), Blessed art thou, O Lord (302), Let not our prayers (303), Let not thy wrath (303), Let us arise (302), Lift up your heads (303), O Lord, give ear (303), O Lord turn thy wrath (303). (AG)

Index classifications: 1500s, 1600s

Monson, Craig. "'Throughout All Generations': Intimations of Influence in the Short Service Styles of Tallis, Byrd and Morley." In Byrd Studies, ed. Alan Brown and Richard Turbet, 83-111. Cambridge and New York: Cambridge University Press, 1992.

The purveyors of Anglican Church music in the late sixteenth century followed a close student-teacher relationship over several generations. In the case of Thomas Tallis, his student William Byrd, and the third generation, Thomas Morley, there is a tradition of emulation and borrowing which manifests itself in their Short Services and Triple-Time Services. Byrd's setting of the Te Deum, in his Short Service, contains harmonic patterns and melodic figures that were clearly derived from the Tallis version. In the Nunc Dimittis, Byrd imitates the manner in which Tallis introduces increasing amounts of imitation throughout a movement, and the interplay Tallis employs between the soprano and the lower voices. Morley is indebted to his mentor William Byrd, in terms of tonal outlines, and also to Thomas Tallis, with borrowings at specific harmonic points.

Works: William Byrd: Short Service (83-100), Triple-Time Service (100-111); Thomas Morley: Short Service (83-100), Triple-Time Service (100-111).

Sources: Thomas Tallis: Short Service (83-100). (REG)

Index classifications: 1500s

Monson, Ingrid. "Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology." Critical Inquiry 20 (Winter 1994): 283-313.

Jazz musicians--particularly African-American musicians--draw upon many sources of knowledge from multiple traditions, and their borrowings are characterized by a sophisticated familiarity with practices from traditions to which they may not traditionally have been thought to belong, as well as a virtuosic and playful tendency to transform the materials they borrow to ironic effect. John Coltrane's position within the world of improvised African-American music did not prevent him from appreciating certain elements of European-American musical theater song in My Favorite Things as sung by Mary Martin. Furthermore, his transformed version of Martin's simple delivery of the Rodgers and Hammerstein tune demonstrates a confidence that African-American musical aesthetics could improve European-American music. Roland Kirk's Rip, Rig, and Panic countered assumptions that he would be unfamiliar with Western art music by citing multiple influences from Edgard Varèse, but did so in an irreverent way that implies multiple meanings and motivations. Not all borrowings must be intercultural or even inter-generic: Jaki Byard's Bass-ment Blues makes ironic references to other styles within the jazz tradition. Intermusical relationships can be ambiguous and still communicate: intention does not necessarily need to line up perfectly with perception. A listener has some liberty to interpret a communicative gesture, although each side should be working with a certain amount of shared knowledge and experience.

Works: Richard Rodgers and Oscar Hammerstein II (songwriters), John Coltrane (performer): My Favorite Things (292-99); Roland Kirk: Rip, Rig, and Panic (300-302); Jaki Byard: Bass-ment Blues (302-5); Ralph Peterson, Jr.: Princess (306-8).

Sources: Richard Rodgers and Oscar Hammerstein II (songwriters), Mary Martin (performer): My Favorite Things (292-99); Edgard Varèse: Poème électronique (300), Ionisation (300). (PEK)

Index classifications: 1900s, Jazz

Monson, Ingrid. "Intermusicality." In Saying Something: Jazz Improvisation and Interaction, 97-132. Chicago and London: The University of Chicago Press, 1996.

In Jazz, quotations of, transformations of, or allusions to existing music are part of a tradition of irony and signifying in African-American music. Most of these quotations, transformations, and allusions are found within improvisations. Allusions to other pieces can function as homage, irony, criticism, or artistic improvement on the original. The success of quotations and allusions depends on the listener's familiarity with the repertoire in question.

Works: Roland Kirk, Rip, Rig, and Panic (121-23). (FMM)

Index classifications: 1900s, Jazz

Montagnier, Jean Paul C. "Plainchant and Its Use in French Grand Motets." Journal of Musicology 16 (Winter 1998): 110-35.

Even after Neo-Gallican reforms revised and suppressed traditional liturgical melodies, plainchant was still sung in almost all parishes as well as the Chapelle Royale of Louis XIV and Louis XV in seventeenth- and eighteenth-century France. At this time, plainchants were still employed to enhance the solemnity of the service and provide a way in which composers of secular music could create sacred-sounding music. Plainchants were incorporated into polyphonic music in several ways, including the use of psalm tone intonations, Gregorian intonations, short quotations from chant to emphasize key words, and cantus firmus. Often, plainchants could be anticipated in orchestral introductions. These practices may have been influenced by the chant sur le livre, a French convention of improvising around a plainchant. Aside from emphasizing the sacred aspect of a composition, quotations from popular chants could convey the meaning of the text to those who did not speak Latin, or certain chants could be utilized for political allegory in order to reflect the grandeur of the King.

Works: Jean-Baptiste Lully: Dies Irae (116-18); Henri Madin: Dixit Dominus (130-31); Antoine Blanchard: Jubilate Deo (130-35).

Sources: Dies Irae (116-18); Graduale romanum (Sanctus) (121-35). (REG)

Index classifications: 1600s, 1700s

Monterosso Vacchelli, Anna Maria. "Elementi stilistici nell' Euridice di Jacopo Peri in rapporto all' Orfeo di Monteverdi." In Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Venezia, Mantova, Cremona, 3-7 maggio 1968, Relazioni e comunicazioni, ed. Raffaello Monterosso, 117-27. Verona: Valdonega, 1969.

Jacopo Peri's music has been consistently underappreciated by recent scholarship in favor of the operatic and musical mastery of his contemporary Claudio Monteverdi. But a comparison of similar stylistic elements between Peri's Euridice and Monteverdi's Orfeo demonstrates the flaws in this musicological hierarchy. The importance of text expression in Peri's opera manifests itself in a number of ways that are mirrored in Monteverdi's Orfeo. A limited but selective use of instruments in the orchestral accompaniment can be found in both operas. There is also a very similar use of melodic expression in points of recitative and soliloquy. This relationship can be found in a comparison of sections from Peri's Euridice with Monteverdi's Combattimento di Tancredi e Clorinda and Orfeo. Thus, in a more careful study of Peri's opera, one finds a number of elements that constitute an important precursor to Monteverdian theater.

Works: Monteverdi: Orfeo (117-27), Combattimento di Tancredi e Clorinda (121).

Sources: Jacopo Peri: Euridice (117-27). (EE)

Index classifications: 1600s

Moore, Christopher Lee. "Music in France and the Popular Front (1934-1938): Politics, Aesthetics and Reception." PhD diss., McGill University, 2007.

Index classifications: 1900s

Morehouse, Christopher. "Ivesian Borrowing, Imagery, and Place in Eric Stokes's The Continental Harp and Band Report: An American Miscellany (1975)." DMA diss., University of Cincinnati, 2005.

Index classifications: 1900s

Morgan, Robert P. "Charles Ives und die europäische Tradition." In Bericht über das Internationale Symposion "Charles Ives und die amerikanische Musiktradition bis zur Gegenwart," Köln 1988, ed. Klaus Wolfgang Niemöller, Manuel Gervink, and Paul Terse, 17-36. Kölner Beiträge zur Musikforschung 164. Regensburg: Gustav Bosse Verlag, 1990. Republished in an expanded English version as "Charles Ives and the European Tradition," in Ives Studies, ed. Philip Lambert, 3-26. Cambridge: Cambridge University Press, 1997.

Ives's music reflects the musical situation of its time as well as the music of his contemporaries. He was the earliest composer to engage the musical legacy of previous centuries, tonality and form, as an issue unto itself. His closest predecessor was Mahler, with whom he shared an interest in combining the very simple or even banal with the extremely complex, and an interest in using popular materials that are transformed, deformed, and fragmented in their application. Among his contemporaries, Ives most resembles Schoenberg in his willingness to conclude works in an atmosphere of tonal uncertainty, but he rejects Schoenberg's evolutionary vision, which sees atonality as an historical necessity, representing an impermeable barrier between the old and the new. Ives explores the issue of tonality as a dead language, not by excluding tonality from his music, but by including tonal fragments, or "ruins," in an atonal context. Detailed analysis of the song "The Things Our Fathers Loved" demonstrates how Ives used tonal melodies recollected from his youth explicitly in order to associate tonality itself with a lost past. (DL)

Index classifications: 1900s

Morgan, Robert P. "Ives and Mahler: Mutual Responses at the End of an Era." 19th-Century Music 2 (July 1978): 72-81.

Despite the apparent differences in their styles, there are general similarities between Ives's music and Mahler's, such as tonal and diatonic conservatism, use of physical space in musical conception, handling of permeable form, and manipulation of borrowed material. Ives tends toward direct quotation, whereas Mahler usually recreates standard types, but their similarity lies in maintaining the recognizability of borrowed material while placing it in completely new contexts.

Works: Mahler: Symphony No. 1 (75, 78), Symphony No. 3 (75); Ives: Symphony No. 4, "Hawthorne" from Concord Sonata, The Celestial Railroad, Violin Sonata No. 4 (78-79). (FT)

Index classifications: 1900s

Morrissey, L. "Henry Fielding and the Ballad Opera." Eighteenth Century Studies 4 (Summer 1971): 386-402.

Index classifications: 1700s

Morrongiello, Christopher. "Roads to Ralegh's Walsingham and the Figurative Passages of Edward Collard and Francis Cutting." Journal of the Lute Society 37 (1997): 17-36.

The anonymous popular ballad As I Went to Walsingham frequently appeared as thematic material in sixteenth-century instrumental compositions. Examples for lute solo include theme and variation sets such as Francis Cutting's Walsingham, John Dowland's Walsingham, Edward Collard's Walsingham, and John Marchant's Walsingham. Examples for keyboard (harpsichord or virginal) include William Byrd's Have With You to Walsinghame. In addition to sharing the same thematic material (the As I Went to Walsingham melody) these compositions often shared similar or identical melodic fragments, called "figures," that were perhaps specific to compositions based on the Walsingham melody. This shared use of musical figures is perhaps analogous to the way in which poets such as Sir Walter Ralegh would adopt literary phrases from other poets when writing about similar subjects.

Works: Cutting: Walsingham (20-21); Collard: As I Went to Walsingham (22, 27); John Dowland: Walsingham (22-24); John Marchant: Walsingham (23-24); Byrd: Have With You to Walsinghame (26-28).

Sources: Anonymous: As I Went to Walsingham (19-36). (STG)

Index classifications: 1500s, 1600s

Morton, Jeffrey Thomas. "Considering In Heinrich's Shoes by Edwin London: Recomposition as an Experiment in Dramaturgy." DMA diss., University of Illinois, Urbana-Champaign, 2004.

Index classifications: 1900s

Morton, Lawrence. "Footnotes to Stravinsky Studies: Le Sacre du printemps." Tempo, no. 128 (March 1979): 9-16.

In his Memories and Commentaries (with Robert Craft), Stravinsky asserted having borrowed only one folk tune from a Lithuanian anthology for his opening bassoon melody of The Rite of Spring. An investigation of this Lithuanian source (Anton Juszkiewicz, Litauische Volks-Weisen, Cracow, 1900) reveals that Stravinsky, consciously or unconsciously, used many more folksongs (or significant sections thereof). The pitches usually correspond exactly, whereas rhythms are changed and grace-notes added. In all the examples cited, Stravinsky transposed the original and sometimes only raised or lowered a single note.

Works: Stravinsky: The Rite of Spring.

Sources: Anton Juszkiewicz, Litauische Volks-Weisen: Nos. 34, 113, 142, 157, 249, 271, 314, 359, 539, 641, 787, and 1785. (AG)

Index classifications: 1900s

Morton, Lawrence. "Stravinsky and Tchaikovsky: Le Baiser de la Fée." The Musical Quarterly 48 (July 1962): 313-26.

Stravinsky's ballet Le Baiser de la Fée is based upon thematic material borrowed from Tchaikovsky and upon music written in the manner of Tchaikovsky. Fourteen works by Tchaikovsky served as major sources of material while several others were possible sources referred to in passing in the music. The search for sources is often difficult because of the nature of the piece; even Stravinsky cannot always tell what music was by Tchaikovsky and what music was by him but written in the manner of Tchaikovsky. In the end, the ballet is more Stravinsky's than it is Tchaikovsky's.

Works: Stravinsky: Le Baiser de la Fée.

Sources: Tchaikovsky: Berceuse de la tempête, Op. 54, No. 10 (315-16), Soir d'hiver, Op. 54, No. 7 (316-17), Humoresque, Op. 10, No. 2 (317-18), Rêverie du soir, Op. 19, No. 1 (318-19), Le Paysan joue à l'accordéon, Op. 39, No. 12 (319), Au village, Op. 40 (319-20), Natha-Valse, Op. 51, No. 4 (319), Tant triste, tant douce, Op. 6, No. 1 (320), Symphony No. 5 (320-22), Scherzo humoristique, Op. 19, No. 2 (322), Feuillet d'album, Op. 19, No. 3 (322), Sleeping Beauty (323), Serenada, Op. 63, No. 6 (323), Polka peu dansante, Op. 51, No. 2 (323-24), Ah! qui brûla d'amour, Op. 6, No. 6 (324). (DCB)

Index classifications: 1900s

Moser, Hans Joachim. Corydon, das ist Geschichte des mehrstimmigen Generalbassliedes und des Quodlibets im deutschen Barock. Braunschweig: H. Litolff, 1933.

Index classifications: 1600s, 1700s

Moser, Hans Joachim. Missae carminum. Wolfenbüttel: Möseler Verlag, 1962.

Index classifications: 1400s, 1500s

Moser, Hans Joachim. "Vestiva i colli." Archiv für Musikforschung 4 (1939): 129-56, 376.

The phrases (Mottetenköpfe) opening each of the two sections of Palestrina's madrigal Vestiva i colli are both easily memorable melodies that also appear in old German and Dutch folksongs such as Es fur ein maidlein übern see (corresponding to part one of the madrigal) or Maudit soit and Ach herziges K. (both by Isaac, corresponding to part two). Thus they are very apt to structure Palestrina's Missa Vestiva i colli and appear at the beginning of significant sections of the Mass movements. Palestrina, however, does not restrict himself to the two opening phrases, but occasionally also draws upon inner sections. Several changes adjust the borrowings to the sacred character (Devotio christiana) of the Mass: slower tempo (mensuration), avoidance of leap, and simplification of the declamation. If Palestrina maintains leaps, they can be interpreted as expressions of joyful passages, as they occur in the "Gloria." Moser discusses six more Masses built on Palestrina's Vestiva i colli. While Giovanni Maria Nanino drew on both the Mass and the madrigal, Ruggiero Giovanelli used only the former. The madrigal furnishes the material for the remaining Masses (see list below). Moser believed that Felice Anerio also based his work on Vestiva i colli, an assumption the author had to correct two issues later (p. 376). Anerio's Mass borrows from Palestrina's eight-part motet Laudate dominum omnes gentes. Palestrina's madrigal influenced even completely different genres. Nikolaus Bleyer's Vestiva [i] colli del Palestrina: Modo di Passeggiar con diverse inventionj non regolati al Canto for violin (from around 1620, according to Moser) paraphrases especially the beginning of its model in a virtuosic way.

Works: Palestrina: Missa Vestiva i colli (132-37); Nanino: Missa Vestiva i colli (137-41); Giovanelli: Missa Vestiva i colli (137-41); Belli: Missa Vestiva i colli (141-42); Nucius: Missa super Vestiva i colli (143-44); Biondi (Cesena): Missa Vestiva i colli (144-47); Rudolph de Lasso: Missa Vestiva i colli (148-49); Anerio: Missa Laudate Dominum omnes gentes (149-52, 376); Bleyer: Vestiva [i] colli del Palestrina (152-54); Banchieri: La pazzia senile (376). (AG)

Index classifications: 1500s

Moses, Oral L. "The Nineteenth-Century Spiritual Text: A Source for Modern Gospel." In Feel the Spirit: Studies in Nineteenth-Century Afro-American Music, ed. George R. Keck and Sherrill V. Martin, 49-60. Westport, Conn.: Greenwood Press, 1988.

African-American spirituals are one important textual source for contemporary gospel music. Gospel music addresses similar themes of hardship, struggle, and perseverance, all of which are prevalent in spiritual texts. At least three different twentieth-century gospel versions of the spiritual The Old Ship of Zion have been recorded by performers such as Wings Over Jordan and Modern Gospel. Although gospel performers sometimes change or omit words of a spiritual in gospel arrangements, the importance of the text and its ability to express the oral tradition of African American music remain in the foreground. An appendix lists examples of the various ways in which spiritual texts are borrowed for gospel songs, including chorus only, borrowed incipit, substitution of words, and chorus and stanza borrowed.

Works: Anonymous: Oh, Get Away, Jordan (51-52); Wings Over Jordan (performer): Old Ship of Zion (54-55); Thomas A. Dorsey: Old Ship of Zion (54-55); Modern Gospel (performers): Old Ship of Zion (54-55).

Sources: Anonymous: Oh, Give Way, Jordan (50-51); Anybody Here (52); Jacob?s Ladder (52-53); Keep Your Lamps Trimmed and Burning (52-53); Rise and Shine (52-53); Old Ship of Zion (54-55). (AJS)

Index classifications: 1800s, 1900s, Popular

Mosher, Harold F. Jr. "The Lyrics of American Pop Music: A New Poetry." In American Popular Music: Readings from the Popular Press, ed. Timothy Scheurer. Vol. 2, The Age of Rock, 144-50. Bowling Green, Ohio: Bowling Green State University, 1990.

Mimetic songs are a trend in popular music, and the lyrics of these songs follow in the tradition of classical poetry. These songs have meanings, expressed "by simple implication, ambiguity, irony, symbolism, surrealistic devices, or by dramatic means." Paul Simon's songs provide rich examples of meaning, and they draw upon multiple voices, often one newly-composed and one borrowed from pre-existing material. A dramatic opposition and multiple meanings are created between two voices in both Seven O'Clock News/Silent Night and Scarborough Fair/Canticle. Humor and satire is found in At the Zoo. Mrs. Robinson offers a satirical or ironic view of the suburban housewife and includes a mocking reference to Jesus Loves Me This I Know.

Works: Paul Simon: America (146-47), Seven O'Clock News/Silent Night (147), Scarborough Fair/Canticle (147-48), At the Zoo (148), Mrs. Robinson (148-49), A Hazy Shade of Winter (149).

Sources: Franz Gruber: Silent Night (147); Traditional: Scarborough Fair (147); William B. Bradbury: Jesus Loves Me This I Know (149). (VLM)

Index classifications: 1900s, Popular

Moulin, Jane Freeman. "What's Mine is Yours?: Cultural Borrowing in a Pacific Context." Contemporary Pacific 8 (Spring 1996): 128-53.

Index classifications: 1900s

Mueller, Richard. "Bali, Tabuh-Tabuhan, and Colin McPhee's Method of Intercultural Composition." Journal of Musicological Research 10 (March 1991): 127-75; 11 (May 1991): 67-92.

In composing Tabuh-Tabuhan, Colin McPhee aimed to integrate Balinese music into the Western symphonic idiom such that it would appeal to Western audiences without losing its distinctiveness. By using authentic Balinese series of notes such as the pèlog and the jejogan incorporated with other motives (ganderangan and rindik), McPhee created a structure unique to both Balinese and Western traditions. McPhee also wanted to "re-create" Balinese music for a Western audience who could not hear this music performed on its original instruments. To this end, he incorporated the overtones of the different-sized gongs of the gamelan instruments into the orchestral texture, achieving the sounds he heard without their original creators.

Works: Colin McPhee: Tabuh-Tabuhan (127-75, 67-92). (MEG)

Index classifications: 1900s

Mueller, Richard Elmer. "Imitation and Stylization in the Balinese Music of Colin McPhee." Ph.D. diss., University of Chicago, 1983.

Index classifications: 1900s

Müller-Blattau, Joseph. "Beethovens Mozart-Variationen." In Bericht über den Internationalen Musikwissenschaftlichen Kongress, Wien Mozartjahr 1956, ed. Erich Schenk, 434-39. Graz: H. Böhlau, 1958.

Index classifications: 1700s, 1800s

Müller-Blattau, Joseph. "Kontrafakturen im älteren geistlichen Volkslied." In Festschrift Karl Gustav Fellerer zum sechzigsten Geburtstag am 7. Juli 1962, ed. Heinrich Hüschen, 354-67. Regensburg: Gustav Bosse, 1962.

The author only considers those songs as contrafacta for which the original text is still clearly recogizable or indicated by a marginal note. Sacred contrafacta were intended to supplant their secular models: replacing their offensive texts while saving the melodies. The latter often deviate considerably from the originals, of which there may be several versions. These deviations include melodic variants, modulations to other keys in the second half of the song, and the elimination of phrases. Laufenberg: Ich weiss eine stolze maget vin, ein edle künegin (355f.); Es taget minnencliche die sünn der gnaden vol (356); Ich wölt daz ich do heime wer (356f.); Ein lerer ruoft vil lut us hohen sinnen (357); from the Hohenfurter Liederbuch: Wolauf, wir wollens wecken (358); Hätt ich die Gnad, so wollt ich mich aufschwingen (358); Ich sich den Morgensterne (358); Philippsen der Jüngere zu Winnenberg und Beilstein: Frisch auf in Gottes Namen, Du werde Teutsche Nation (360); Mir ist ein liebes Meidelein Gefalln in meinen Sinn (360); Wiewohl ich schwach und elend bin, So hab' ich doch ein' steten Sinn (360); So wünsch ich euch ein gute Nacht (360); from the collection of Louis Pinck (Verklingende Weisen): Der himmlische Jäger (361); Ich weiss ein schönes Himmelreich (363); from the collection of Bäumker (Das katholische deutsche Kirchenlied in seinen Singweisen): Der geistlichen Meyen, Alt (363); Waris: Es scheint die Sonn am Himmel (365); Ich verlang ein Braut zu werden (366); Gute Meinung (367). (AG)

Index classifications: 1400s, 1500s

Müller-Blattau, Wendelin, ed. Trouvères und Minnesänger II: Kritische Ausgaben der Weisen Zugleich als Beitrag zu Einer Melodienlehre des Mittelalterlichen Liedes. Annales Universitatis Saraviensis, 138. Saarbrücken: Im Selbstverlag der Universität Saarbrücken, 1956. Reviewed by Ronald J. Taylor in German Life and Letters 10 (January 1957): 150-51. Also reviewed by Ursula Aarburg in Anzeiger für deutsches Altertum 70 (1957-58): 12-16.

Index classifications: Monophony to 1300

Mumper, D. Robert. "The First Piano Sonata of Charles Ives." D.M.A. document, Indiana University, 1971.

Index classifications: 1900s

Münster, Arnold. Studien zu Beethovens Diabelli-Variationen. Schriften zur Beethovenforschung 8. Munich: G. Henle, 1982.

Index classifications: 1800s

Münzer, Georg, and Oscar Grohe. "Musikalische Zitate und Selbstzitate." Die Musik 3, no. 6 (1903-4): 430-33.

The article's first section discusses a quotation found in Die Meistersinger (when the master is so named), which is taken from Die Walküre. The second part lists a number of pieces that use quotations, including Wolf's Grenzen der Menschheit and Corregidor, Bruckner's 2nd Symphony, and Brahms's Intermezzo No. 2, Op. 119.

Works: Wolf: Grenzen der Menschheit (431), Corregidor (431); Bruckner: Symphony No. 2 (431); Brahms: Intermezzo No. 2, Op. 119 (432), Piano Sonata in F Minor, Op. 5 (432). (MM)

Index classifications: General, 1800s

Murphy, John P. "Jazz Improvisation: The Joy of Influence." The Black Perspective in Music 18, no. 1 (1990): 7-19.

One of the central questions in jazz research is the relationship of a specific jazz musician to his or her jazz predecessors. Much of jazz can be analyzed with Henry Louis Gates's concept of "Signifyin(g)." Meaning in jazz is found in the relationship of each piece to the rest of the jazz repertoire, and in this respect clearly reflects the viability of Harold Bloom's theory of the anxiety of influence for jazz studies. But the influence of predecessors is felt joyfully rather than anxiously in jazz improvisation, and musical quotations in jazz tend to reflect homage.

Works: Joe Henderson: If (10-15); Freddie Hubbard: Bird Like (10-17).

Sources: Charlie Parker: Buzzy (10-17). (FMM)

Index classifications: General, 1900s, Jazz

Musgrave, Michael. "Frei aber Froh: A Reconsideration." 19th-Century Music 3 (March 1980): 251-58.

The story of the Frei aber froh motive and its significance in Brahms's music is not valid but is instead the invention of Max Kalbeck. The examples of the F-A-F motive which Kalbeck points to are not persuasive. The Frei aber einsam motive (associated with Joachim) is of course valid and appears in the scherzo movement of the F-A-E sonata as well as in correspondence between Brahms and Joachim and in Des Jungen Kreislers Schatzkästlein (the notebook in which the young Brahms noted down his favorite literary quotations). (DCB)

Index classifications: 1800s

Myers, Betty Dustin. "The Orchestral Music of Charles Ives." M.M. thesis, Indiana University, 1951.

Index classifications: 1900s

Nadeau, Roland. "The Crisis of Tonality: What is Avant-Garde?" Music Educators Journal 47, no. 7 (March 1981): 37-41.

The idea of the avant-garde has been misinterpreted as the music of the atonalists and experimentalists. These styles of music actually became the standard of Western art music in the early twentieth century because of the support found in academia. The composers still writing in the tonal idiom and looking back to the past for support should be seen more as the avant-garde. These composers, such as Stravinsky, Copland, Prokofiev, Milhaud, and Bernstein were creating new music firmly founded in the tonal traditions of the 1700s and 1800s. The future of tonal music, although impossible to predict, may be rooted in assimilation and dissemination of non-Western music. Though composers like Chavez, Bartók, Villa-Lobos, and Messiaen have borrowed from non-Western music sources in their compositions, the total integration of other musical traditions has yet to be accomplished.

Works: Liebermann: Concerto for Jazzband and Orchestra (40); Stockhausen: Gruppen (41); Tippett: The Knot Garden (41); Stockhausen: Hymnen (41); Rochberg: String Quartet No. 3 (41); Bernstein: Mass (41); Berio: Sinfonia (41).

Sources: Mahler: Symphony No. 2, Resurrection (41). (MDA)

Index classifications: 1900s

Nagel, Wilibald. "Ein Stück altenglischer parodistischer Musik." Monatshefte für Musikgeschichte 30 (1898): 31-35.

Index classifications: 1600s

Nathan, Hans. "The Function of Text in French Thirteenth-Century Motets." The Musical Quarterly 28 (October 1942): 445-62.

The motet originated when clausulae were given new words, and then each voice part was given an entirely new text. Many different texts were used, and individual words even stopped working together as a textual unit. In this borrowing, although only the words were new and the notes were essentially unchanged, the character of the piece changed significantly. Primarily, this is seen through alterations in rhythm. The introduction of syllabic text into the formerly textless melisma transformed the melisma's fluid character into something heavier and more solid. Phrasing moved from iambic to trochaic. Essentially, text gave the music a new pulsation. All of these characteristics appear in the motet Verbum patris. Through a relatively simple borrowing technique that utilized complex notions about text and rhythm, a new type of composition emerged.

Works: Motet: Verbum patris (452-53).

Sources: Pérotin: Nativitas (Ex semine) (446, 459-60). (RCD)

Index classifications: Polyphony to 1300

Nectoux, Jean-Michel. "Works Renounced, Themes Rediscovered: Eléments pour une thématique fauréenne." 19th-Century Music 2 (March 1979): 231-44.

In his late works, Fauré returns to themes of his earlier works. These ideas can be placed in distinct groups such that each forms a sort of musical chain of references. There are three main groups or chains: (1) the Lydia Group which originates in an early song of the same title; (2) the Soir Group which originates in the song of 1894; and (3) the Ulysse Group which is named after the character in the opera Penelope. Nectoux traces these referential chains as the various ideas return in later works and in different guises. Numerous works are mentioned and discussed. The self-borrowings are not evidence of a lack of melodic inspiration since the ideas are always transformed and re-worked. Rather, these references to his earlier works in the late works are "similar in function to the memories of his youth with which his last letters are full"; they relate to the Romantic representation of memory. The chains of references also reveal a unique continuity in his work. "Fauré's output is highly unified."

Works: Fauré: La Bonne Chanson (232), Prométhée (232), Sonata for Violin, Op. 13 (232), Piano Quartet, Op. 15 (232), Elégie (232), Chanson d'Ève (236), Violin Concerto, Op. 14 (237), Symphony in F (or Orchestral Suite), Op. 20 (237), Symphony in D Minor, Op. 40 (237). (DCB)

Index classifications: 1800s, 1900s

Nehrenberg, Steven D. "Orlando di Lasso's Missae ad imitationem: An Examination and Comparison of the Treatment of Borrowings from Self-Composed versus External Models." D.M.A. document, University of Oregon, 1996.

Index classifications: 1500s

Neighbour, Oliver. "Brahms and Schumann: Two Opus Nines and Beyond." 19th-Century Music 7 (April 1984): 266-70.

Brahms's Schumann Variations, Op. 9 refer to the theme of Schumann's Variations Op. 9. The influence of Schumann is evident in Brahms's approach to variation form, in his association of certain variations with certain characters, and in the allusion to other pieces by Schumann besides the variation set. Variations 9, 10, 11, 12, 13, 14, 15, and 16 all refer in some way or another to works by Schumann. Variation No. 10 refers to Clara Schumann's Romance upon which Schumann based his Impromptus, Op. 5. Furthermore, Clara Schumann's Variations Op. 20 are based on the first Albumblatt of Schumann's Bunte Blätter, Op. 99. In his Intermezzo, Op. 76, No. 4, Brahms refers to Carnival and includes the A-S-C-H motto. This also constitutes reference to his own Op. 9, No. 11.

Works: Brahms: Schumann Variations, Op. 9 (266), Intermezzo, Op. 76, No. 4 (268); Clara Schumann: Variations, Op. 20. (DCB)

Index classifications: 1800s

Nelson, Bernadette. "Morales's Contribution to the Pange Lingua Tradition and an Anonymous Tantum ergo." In Cristóbal Morales: Sources, Influences, Reception, ed. Owen Rees and Bernadette Nelson, 85-108. Studies in Medieval and Renaissance Music 6. Woodbridge, United Kingdom: Boydell & Brewer, 2007.

Index classifications: 1500s

Nelson, Mark D. "Beyond Mimesis: Transcendentalism and Processes of Analogy in Charles Ives' The Fourth of July." Perspectives of New Music 22 (Fall/Winter 1983-Spring/Summer 1984): 353-84.

Ives's Fourth of July is characterized by polymeter, polytonality, dense textures, and quotations from popular and folk tunes. It is a fully integrated work whose multiple layerings and quotations had deep philosophical implications for the composer. Ives, the Transcendentalist, was able to perceive a unity among superficial and discordant events. In this work, he creates analogies to four types of events: acoustical (music of parades, church services, and so on); natural phenomena (violin glissando passage representing smoke); psychological phenomena; and non-programmatic musical unity. (SB)

Index classifications: 1900s

Nelson, Robert U. "Stravinsky's Concept of Variations." In Stravinsky: A New Appraisal of His Work, ed. Paul Henry Lang, 61-73. New York: W. W. Norton, 1963.

Despite Stravinsky's claim that his goal was to remain faithful to "the theme as a melody," the degree of relationship to the original melody varies widely in his variation works. While the melody itself is generally recognizable, his treatment of other musical elements is nearly unlimited in its freedom and flexibility. Though his variation works are dominated by free variation techniques, there are examples of clear influence from variation practices dating from the sixteenth century through the nineteenth century. Stravinsky's use of variations frequently creates sharp contrasts of mood within a piece, while maintaining cohesion through the use of repetitive figuration and ostinato figures. Considered as a group, Stravinsky's variations are clearly linked to the traditions of the past while making use of progressive compositional techniques.

Works: Stravinsky: Pulcinella (61), Octet for Wind Instruments (61-63, 64, 69, 70, 71), Concerto for Two Pianos (61-63, 68-69, 70, 71), Jeu de cartes (61-63, 65-66, 71-72), Danses concertantes (61-62, 63, 65, 66-67, 70-71, 72), Sonata for Two Pianos (61-62, 63, 65, 68, 70-71, 72), Ebony Concerto (61-62, 63, 65, 66-67, 72), Septet (61-62, 63, 64-65, 70, 72).

Sources: Haydn: Variations in F minor, Hob. XVII:6 (63); Byrd: John come kisse me now (64); Scheidt: Christe, qui lux es et dies (64); J. S. Bach: Von Himmel hoch, da komm' ich her, BWV 606 (65), Christ, der du bist der helle Tag, BWV 766 (67); Ebner: Variations on an Air (69); Beethoven: Thirty-Three Variations on a Waltz by Diabelli,Op. 120 (71); Schumann: 12 Etudes Symphoniques, Op. 13 (71). (SW)

Index classifications: 1900s

Nelson, Robert U. The Technique of Variation: A Study of the Instrumental Variation from Antonio de Cabézon to Max Reger. Berkeley: University of California Press, 1948; 2nd ed., 1962.

Variations, which often use borrowed material, fall into the following seven historical categories: (1) Renaissance and Baroque variations on secular songs, dances, and arias; (2) Renaissance and Baroque variations on plainchant and chorales; (3) the Baroque basso ostinato variation; (4) the ornamental variation of the eighteenth and nineteenth centuries; (5) the nineteenth-century character variation; (6) the nineteenth-century basso ostinato variation; and (7) the free variation of the late nineteenth and early twentieth centuries. Variations also fall into two basic plans, structural and free. Variations in categories (1) through (6) above followed the older structural plan, in which basic relationships of parts, sections, and phrases in the theme were preserved in the variations. By the early twentieth century, variations were constructed in two ways: following the structural plan and following the newer free plan, in which basic relationships of sections and phrases in the theme were disregarded. Generally, the most conspicuous elements of themes most emphatically demand change. Rhythm is the most conspicuous element, and thus must be varied the most. The melodic subject is second most conspicuous. The harmonico-structural frame is least conspicuous, was historically generally retained, and therefore may be considered as the substance of the theme. All variations are committed to the task of securing unity within a manifold. In the nineteenth and twentieth centuries there was a growing trend toward the use of original themes. Renaissance and Baroque themes were frequently borrowed from dances and secular songs. In the ornamental variation, borrowed themes continued to include the dance piece and the popular song and also included the operatic excerpt. In the nineteenth-century character variation, neither the secular song nor the operatic aria were important sources of borrowed themes. Instead, composers used instrumental works (such as suites and sonatas) and instrumentally conceived themes from members of their own circles. Despite the trend toward the use of original themes, borrowed themes, including folk songs, still persisted in the free variation. (DB)

Index classifications: General, 1500s, 1600s, 1700s, 1800s, 1900s

Nettheim, Nigel. "The Derivation of Chopin's Fourth Ballade from Bach and Beethoven." The Music Review 54 (May 1993): 95-111.

Chopin's fourth ballade, Op. 52 (1842) borrows elements from several preludes and fugues in J. S. Bach's Well-Tempered Clavier, as well as from Beethoven's Appassionata Sonata. The ballade's harmonic plan is closely linked to these borrowings: the borrowed Bach pieces, which are all in B flat major or minor, make B flat minor prominent in the ballade, most notably in its main theme. The F minor ending of the ballade is best explained as a borrowing from the Appassionata sonata, which is in the same key. Also borrowed from Bach are a five-voice stretto and some thematic material (for instance, a quotation from one fugue is used as a counterpoint to material taken from another fugue). By emulating Bach, Chopin pays homage to him. From Beethoven's Appassionata Chopin borrowed thematic materials, its passionate mood, and form. Chopin also borrowed from the Appassionata in his Prelude in D Minor, Op. 28, No. 24, yet there the borrowing is limited to mood and thematic material and is better construed as competitive with Beethoven. Understanding these borrowings is essential for tracing Chopin's compositional process and explaining the anomalies in the fourth ballade.

Works: Chopin: Ballade No. 4, Op. 52, Prelude Op. 28, No. 24 (104-5).

Sources: Bach: The Well-Tempered Clavier, Book I, Prelude in B flat Minor, (96-98, 101-3), and Book II, Fugue in B flat Major (97, 109); Beethoven: Piano Sonata in F Minor, Op. 57, Appassionata (104-7); Bach: The Well-Tempered Clavier, Book I, Prelude in B flat Major (108-10). (TB)

Index classifications: 1800s

Nettheim, Nigel. "How the Young Schubert Borrowed from Beethoven." The Musical Times 132 (July 1991): 330-31.

Identification of two borrowings from Beethoven in Schubert's Fantasy for Piano four hands, D. 28 (1813) helps explain Schubert's learning process, as well as the later naming of his work. In the middle Allegro Schubert borrowed elements from Beethoven's Piano Sonata in C Minor, Op. 13 (Pathétique). Schubert's friend, Albert Stadler, later affixed to the Fantasie the peculiar title Grande Sonate, which is similar to the one attached to the Pathétique, to draw attention to that borrowing. In the last twenty bars of the Allegro Schubert borrowed elements from Beethoven's Appassionata Sonata, Op. 57, and even ended his movement, which begins in B flat major, in F minor, the key of Op. 57.

Works: Schubert: Fantasie for Piano four hands, D. 28, Grande Sonate (330-31).

Sources: Beethoven: Piano Sonata in C Minor, Op. 13, Pathétique (330), Piano Sonata in F Minor, Op. 57, Appassionata (330-31), Piano Sonata in C Major, Op. 3, No. 2 (331). (TB)

Index classifications: 1800s

Nettl, Paul. "Mozart and the Czechs." The Musical Quarterly 27 (July 1941): 329-42.

The Czechs have always admired Mozart and Mozart maintained good relations with many musicians of that country. Thus whole operas or popular numbers from them were arranged for different forces or used as a basis for new songs. An example is Figaro's aria "Se vuol ballare signor contino," used in the Frühlingsliedchen (spring song) from the Sammlung einiger Lieder für die Jugend bei Industrialarbeiten mit den hiezu gehörigen Melodien, published by Franz Stiasny. Josef Mysliwetschek was one of those important friends, whose compositions Mozart liked. The theme from his D Major Symphony shows striking similarities with the opening of the Andante from Mozart's Symphony K. 95, which is also used in the Violin Sonata K. 9, and with the folksong Horela líp. Several Czech folksongs correspond with tunes from Mozart's operas, and Nettl assumes that it is more likely that the latter became folksongs than the other way round.

Works: Stiasny (publisher): Frühlingsliedchen (333); Mozart: Symphony K. 95 (337-38), Violin Sonata K. 9 (338); Mela jsem holoubka (folksong) (338); Já jsem chudej poustevník (folksong) (339); Skroup: Kde domov muj (339). (AG)

Index classifications: 1700s, 1800s

Neumann, Werner. "Über Ausmass und Wesen des Bachschen Parodieverfahrens." Bach-Jahrbuch 51 (1965): 63-85.

Neumann classifies Bach's works including parody by the following categories (directions of borrowing arias, choral movements, or recitatives): (1) Sacred to sacred; (2) secular to sacred; (3) secular to secular; (4) instrumental to vocal; (5) vocal to instrumental. Bach approached parody in two different ways: either he decided to re-use an existing composition and asked a poet to set a new text, or he adapted an old work to independently conceived poetry. If Bach decided to parody a whole cantata en bloc, the former method was applied, whereas parodies of single movements usually followed the latter procedure. If the text or music of either the original or the parody is missing and if further evidence is not extant, tracing parody becomes problematic, since corresponding prosody is neither a necessary nor a sufficient feature, as Neumann shows with several examples. Bach is not known to have re-used material from sacred works in secular ones. In cases evoking this impression, an even older secular composition exists (or existed) from which both later ones borrowed. Several theories have tried to explain this fact (Schering, Spitta, Rust), but Neumann refutes all these theories as unsound, providing a possible exception: the model of the secular cantata Lasst uns sorgen, lasst uns wachen, BWV 213 was more likely the sacred cantata Erwünschtes Freudenlicht, BWV 184 than the textually unknown (secular) "Köthener Huldigungskantata" from which Bach re-used five instrumental parts in BWV 184. Therefore Neumann moderates the "rule" of the exclusive one-way parody to a hypothesis, of which the only reasonable explanation is Bach's wish to have his secular cantatas (usually written for a unique occasion) more frequently performed. Besides the complete list (64-71) the following works are mentioned.

Works: Bach: "Jesus soll mein erstes Wort," from Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 (73); Man singet mit Freuden vom Sieg, BWV 149 (75); "Domine Deus," from Mass in F Major, BWV 233 (75); Also hat Gott die Welt geliebt, BWV 68 (76); Schwinget freudig euch empor, BWV 36c (76); Herrgott, Beherrscher aller Dinge, BWV 120a (78); Preise Jerusalem den Herrn, BWV 119 (80); Erwünschtes Freudenlicht, BWV 184 (84); Lasst uns sorgen, lasst uns wachen, BWV 213 (84-85). (AG)

Index classifications: 1700s

Neumann, Werner. "Eine verschollene Ratswechselkantate J.S. Bachs." Bach-Jahrbuch 48 (1961): 52-57.

Although the records of the council meetings in Leipzig confirm that Bach wrote a cantata for the town council election (Ratswechselkantate) in 1740, only its text has come down to us. In the original version of the Weimarer Jagdkantate, BWV 208, however, Bach underlaid the soprano part of the final chorus with some verses of the 1740 Ratswechselkantate. Since also other parts from the Jagdkantate could be adapted, Neumann mentions the possibility that Bach parodied several of its movements. (AG)

Index classifications: 1700s

Newcomb, Anthony. "Once More 'Between Absolute and Program Music': Schumann's Second Symphony." 19th-Century Music 7 (April 1984): 233-50.

A change in analytical methods for absolute music in the twentieth century may be the cause of a change in the critical evaluation of Schumann's Second Symphony. This analysis considers the biographical nature of the composition and its plot archetype, which is similar to that of Beethoven's Fifth. In the symphony, Schumann quotes thematic material from Haydn's last symphony and Beethoven's An die ferne Geliebte (also found in his Fantasie, Op. 17), and uses the B-A-C-H motive. By so doing he emulates his predecessors and expresses his own personal development. Thus Schumann conveys "complex musical ideas through musical context."

Works: Schumann: Phantasie, Op. 17 (246), Symphony No. 2. (CMC)

Index classifications: 1800s

Newlin, Dika. "Arnold Schoenberg's Debt to Mahler." Chord and Discord 2 (1948): 21-26.

Many features of Schoenberg's music cannot be understood without Mahler. Schoenberg, however, usually goes beyond his predecessor. The clarity of each voice in the orchestral texture is clearly based on Mahler and the concept of beginning a piece tonally and ending atonally is derived from Mahler's way of starting a work in one key and finishing it in another.

Works: Schoenberg: String Quartet No. 2, Gurre-Lieder. (AG)

Index classifications: 1900s

Newlin, Dika. "Later Works of Ernest Bloch." The Musical Quarterly 33 (October 1947): 443-59.

Newlin surveys selected Bloch works from 1921 to 1947. Jewish characteristics, such as melodies incorporating the augmented second, appear not only in explicitly Jewish works, but also in works without overt programmatic significance, such as the Violin Concerto. The America symphony, which eschews Jewish characteristics, quotes extensively from various American musics, but "the stringing together of so many unrelated ideas" has interfered with Bloch's inspiration. The Avodath Hakodesh effectively combines "universal with 'racial' traits," including a lengthy quotation from liturgical chant.

Works: Bloch: Avodath Hakodesh (Sacred Service), America, an Epic Rhapsody in Three Movements. (DL)

Index classifications: 1900s

Newlin, Dika. "Music for the Flickering Image: American Film Scores." Music Educators Journal 64, no. 114 (September 1977): 24-35.

Film music serves many purposes in supporting the visual media by setting the mood, location, or time-period, suggesting a principal ethnic group, reinforcing action, offering contrary information, and drawing attention away from undesirable visual images. Film scores borrow from well-known pre-existing music to suggest location, time, and ethnic groups. In John Cromwell's Of Human Bondage, the music switches from "La Marseillaise" to "British Grenadiers" to signal the main character's change in location. Film score composers allude stylistically to ethnic folk music idioms to suggest a particular group of people. These idioms are often spuriously employed through the repetitious use of a particular convention, such as a pentatonic scale, gongs, and temple bells to signify Chinese traditional music, or heavy drumbeats and chanting for Native American music. Film music composers often model compositions on stylistic conventions of a given period in Western art music. Max Steiner's score for The Informer, set in Ireland during the 1920s, borrowed the Irish traditional tune, "The Minstrel Boy," Miklos Rozsa's score for Ivanhoe reflects the film's setting through the music of French troubadours, and Elmer Bernstein's score for The Ten Commandments draws on the unique timbre of the ram's horn during the Exodus scene. Bernard Herrmann's score for The 7th Voyage of Sinbad did not directly borrow the corresponding ethnic idiomatic music, but implied its use through the borrowing of Rimsky-Korsakov's Scheherazade. Early American film scores were often modeled on or borrowed directly from late nineteenth-century European composers, as Joseph Carl Breil's score for the 1915 Birth of a Nation used Richard Wagner's "The Ride of the Valkyries." Aaron Copland and Virgil Thomson influenced the move towards sparse orchestration in later American film score composers by incorporating American folksongs. Jazz and popular music became frequent sources of borrowing in the 1940s, as did rock music from the 1950s through the 1970s in films as in Rock Around the Clock, Don't Knock the Rock, and The Twist. American Graffiti used rock music as background for stories of the turbulence and uncertainty of the period. Film score composers are now employing both rich symphonic scoring along with the "musical potpourri" of the silent film era.

Works: Max Steiner: score to Of Human Bondage (27), score to The Informer (28); Miklos Rozsa: score to Ivanhoe (28); Bernard Herrmann: score to The 7th Voyage of Sinbad (28); George Lucas, et al.: score to American Graffiti (32).

Sources: Rimsky-Korsakov: Scheherazade (28); Richard Wagner: "Ride of the Valkyries" from Die Walküre (29); Jimmy DeKnight and Max Freedman: Rock Around the Clock as performed by Bill Haley and the Comets (32). (KEW)

Index classifications: 1900s, Film

Newman, Philip Edward. "The Songs of Charles Ives." Ph.D. dissertation, University of Iowa, 1967.

Index classifications: 1800s, 1900s

Newman, William S. "K. 457 and Op. 13: Two Related Masterpieces in C Minor." The Music Review 28 (February 1967): 38-44.

A number of passages in Beethoven's Op. 13 seem to have been derived from Mozart's Sonata K. 457. In addition, both members of a pair of corresponding themes from the slow movements of the sonatas are set in the submediant. The general mood and dramatic impact of the two works is very similar. The C Minor Sonata of Dussek, Op. 35, No. 3 does not share the general "spirit" of Beethoven's Op. 13 as Eric Blom claimed, but several thematic details of the Dussek correspond to the Beethoven. It is difficult to establish a priority for the material, however, since the works were composed at roughly the same time.

Works: Beethoven: Piano Sonata in C Minor, Op. 13; Dussek: Piano Sonata in C Minor, Op. 35, No. 3. (NKT)

Index classifications: 1700s

Newsom, Jon. "'A Sound Idea': Music for Animated Films." The Quarterly Journal of the Library of Congress (Summer 1984): 279-308.

The use and adaptation of existing music in animated films involved more than mere selective quotation. While small segments and entire movements of "classical" pieces from the 18th to the early 20th centuries were sometimes animated, composers were most often required to be adept at altering the formal structure of an existing work to accommodate the requirements of the animated film. In the lighter, more eclectic style of animated shorts, scores like those by Scott Bradley exhibit characteristics of Stravinsky, including octatonicism, tonally disjunct melody figurations, and orchestration. In major animated films such as those of Disney, Tchaikovsky's ballet music was similarly adapted. Significantly, the forms in which these existing works were used represented the first exposure to these pieces for many spectators of these animated films. (DBO)

Index classifications: 1900s, Film

Nicholls, David. American Experimental Music, 1890-1940. Cambridge: Cambridge University Press, 1990.

Index classifications: 1800s, 1900s

Nicholson, Sara. "Keep Going: The Use of Classical Music Samples in Mono's 'Hello Cleveland!'" ECHO: A Music-Centered Journal 4 (Spring 2002) [http://www.echo.ucla.edu/volume4-issue1/nicholson/nicholson1.html].

The duo Mono's 1997 album Formica Blues samples a variety of sources. For instance, the tenth track of the album, Hello Cleveland, samples works from Berio, Webern, Schoenberg, and Berg, which are combined with Mono's composed ambient setting. Depending on the listener, one would hear this track in two different ways. To a listener unfamiliar with classical music or with these particular source pieces, it might sound like a collection of undifferentiated "classical" sources. But to one more familiar with classical music and the tradition of borrowing, the song is full of potential meaning. However, when Mono provides the listener with such an abundance of sources, the knowing listener is left with a similar result as the unknowing listener: no single, unified narrative.

Works: Mono [Martin Virgo and Siobhan de Maré]: Formica Blues, Hello Cleveland.

Sources: Burt Bacharach: Walk on By; John Barry: Ipcress File; Miles Davis and Gil Evans: The Pan Piper; Berg: Lulu Suite; Schoenberg: Five Orchestral Pieces, Op. 16; Berio: Sinfonia; Webern: Six Pieces for Orchestra, Op. 6. (KO)

Index classifications: 1900s, Popular

Nicolosi, Robert J. "T. S. Eliot and Music: An Introduction." The Musical Quarterly 66 (April 1980): 192-204.

Eliot's literary quotations are drawn from many sources and are invested with personal meaning. This situation is also to be found in the music of Ives, Stravinsky, Copland, Crumb, Rochberg and others. Specific examples, such as Ives's reference to the beginning of Beethoven's Fifth in his Concord Sonata (the "Alcotts" movement), Stravinsky's allusions to Bach, Pergolesi and others in his neo-classic music, and Berg's Tristan quotation in the Lyric Suite, are mentioned. The significance of music to Eliot's poetry is discussed. A parallel between the poetry of Eliot and the music of Stravinsky is drawn.

Works: Ives: Concord Sonata (194); Berg: Lyric Suite (194). (DCB)

Index classifications: 1900s

Niemöller, Klaus Wolfgang. Der sprachhafte Charakter der Musik. Opladen: Westdeutscher Verlag, 1980.

Index classifications:

Niemöller, Klaus Wolfgang. "Super voces musicales: Deutsche Hexachordkompositionen im Lichte der Musiktheorie und in ihrem europäischen Kontext." In Von Isaac bis Bach--Studien zur alteren deutschen Musikgeschichte: Festschrift Martin Just zum 60. Geburtstag, ed. Frank Heidlberger, Wolfgang Osthoff, and Reinhard Wiesend, 127-37. Kassel: Bärenreiter, 1991.

Index classifications: 1500s

Nieuwstadt, Jacques van. "Charles Ives: realisme en pragmatisme (I): Muzikale citaten" and "Charles Ives: realisme en pragmatisme (II): Vernieuwende nostalgie." Mens en Melodie 46 (November-December 1991): 601-5 and 47 (January 1992): 13-17.

Index classifications: 1900s

Nisbett, Robert F. "Louis Gruenberg's American Idiom." American Music (Spring 1985): 25-41.

Louis Gruenberg frequently borrowed musical characteristics from American jazz, spirituals, and folk songs. Often, he combined the melodic and rhythmic traits of his sources with procedures associated with art-music. For instance, Gruenberg combines imitative technique with ragtime rhythms in the "Fox-Trot" of his suite entitled Jazzberries. Likewise, he integrated Negro spirituals into his violin concerto. The composer's non-literal use of borrowed idioms differentiated him from his contemporaries, namely Aaron Copland and Roy Harris. Gruenberg's finest attribute is his keenly developed variation technique, displayed in the treatments of borrowed motives in Jazz-Suite, Violin Concerto, and other works.

Works: Gruenberg: Four Indiscretions, Op. 20 (26), The Daniel Jazz, Op. 21 (26, 31-34), Animals and Insects, Op. 22 (26), The Creation, Op. 21 (26-27), Jazzberries, Op. 25 (26, 34-36), Jazzettes, Op. 26 (26), Jazz-Suite, Op. 28 (26, 36-38), Emperor Jones, Op. 36 (26, 28), Americana Suite, Op. 48 (26, 28), Violin Sonata No. 2, Op. 18 (28), Six Jazz Epigrams, Op. 30b (28-30), Polychromatics, Op. 16 (30), Concerto for Violin, Op. 47 (38-40).

Sources: Negro Spirituals: I'm A-Rollin (27), Steal Away to Jesus (27), Oh! Holy Lord (38), Reign Massa Jesus (38); Traditional: Arkansas Traveler (38), She'll Be Coming 'round the Mountain (38). (EU)

Index classifications: 1900s

Nitschke, Wolfgang. Studien zu den Cantus-Firmus-Messen Guillaume Dufays. 2 Volumes. Berlin: Verlag Merseberger, 1968.

Nitschke's study looks at the cantus firmus primarily as a constructive element,not as an aspect of musical borrowing. Yet many comparisons between cantus firmus and original melody are made. In addition to Dufay's Mass cycles, Nitschke discusses secular pieces included in earlier Mass movements such as (1) the ballata Fior gentil in a Gloria setting and the ballata Deus deorum in a Credo setting by Antonio Zacara da Teramo and (2) the French folk song Tu m' a [sic] monté in the Gloria and the Italian folk song La Villanella non è bella in the Credo setting of the pair BL 33/34. Dufay's Mass Ecce ancilla is based on the two antiphons Ecce ancilla and Beata es Maria. No version of the former can be considered very close to Dufay's cantus firmus, which leads Nitschke to the suggestion that Dufay might have adjusted it to some melodic features of the antiphon Beata es Maria. The cantus firmus based on the latter shares some elements with the version from the Antiphonale Sarisburiense and some with the one from the Roman repertory. In isorhythmic sections, the cantus firmus follows the model exactly, whereas in others it may be paraphrased considerably. Dufay adapts the cantus firmus of the L'homme armé Mass in four different ways: (1) The tenor quotes the song exactly; (2) some features of the song are changed due to the canon instruction; (3) the song is paraphrased; or (4) Dufay creates his own version of the song and repeats it isorhythmically several times. As in the Mass Ecce ancilla, Nitschke could not yet locate the model for the cantus firmus of the Mass Ave regina caelorum. It shares elements with the version from Rouen and Salisbury and the printed ones as found in the Graduale Romanum and the Processionale Romanum. The Mass is also compared to the motet Ave regina caelorum, which is based on the same cantus firmus and was most probably written before the Mass. According to Nitschke it is very remarkable that the Mass borrows only two passages from the motet.

Works: Zacara da Teramo: Gloria Fior gentil (89-95), Credo Deus deorum (96-101); Dufay: Credo-Gloria BL 33/34, Missa Caput, Missa Se la face ay pale, Missa Ecce ancilla domini, Missa L'homme armé, Missa Ave regina caelorum, Missa La mort de Saint Gothardo. (AG)

Index classifications: 1400s

Noblitt, Thomas L. "Contrafacta in Isaac's Missae Wohlauf, Gesell, von hinnen." Acta Musicologica 46 (July/December 1974): 208-16.

Isaac was a prolific composer and well-known in his time. The idea of contrafacta was widespread among composers of the period, and there are many instances of this procedure in Isaac's works. One particularly striking example is found in his Missae Wohlauf, Gesell, von hinnen, one for four voices, the other for six voices. Noblitt shows that the Mass for six voices is largely a contrafactum of the version for four voices, with the movements of the original rearranged and expanded for the later work.

Works: Isaac: Missae Wohlauf, Gesell, von hinnen. (PRZ)

Index classifications: 1400s

Noblitt, Thomas L. "Obrecht's Missa sine nomine and its Recently Discovered Model." The Musical Quarterly 68 (January 1982): 102-27.

A Missa sine nomine attributed to Obrecht in Leipzig 51, of which only the tenor and bassus parts survive, is based on the anonymous chanson Veci la danse Barbari. The Obrecht Mass initiated a tradition of works based on this chanson, including Masses by Adam Rener and Anton Barbé, each of which also drew on previous works in the tradition. The chanson survives only in a set of partbooks lacking the bassus. The tenor of the Mass beginning at Et iterum venturus est in the Credo is almost identical to that of the chanson, and the bass of this passage fits contrapuntally with all voices of the chanson, showing that it must closely approximate the lost bassus of the chanson. This Credo also appears in two other manuscripts, freestanding in one of the Annaberg Choirbooks and as part of a Mass on the same chanson in Jena 36 attributed to Adam Rener. Many musical features tend to confirm Obrecht's authorship of the Mass in Leipzig 51, other than the Credo movement, and none contradict it. The tenor part is almost entirely derived from that of the chanson, and the bassus uses ostinatos based on fragments of the chanson tenor, and little from other voices is used (except the altus, which moves in canon or imitation with the tenor throughout the chanson). By contrast, the Credo also borrows from the bassus and discantus, much more of its bassus is derived from the model, and all four voices of the model are incorporated complete. Along with other stylistic evidence, this suggests strongly that the Credo is not by Obrecht. The Credo borrows directly from Obrecht's Gloria, showing that its composer drew not only on the chanson but also on Obrecht's Mass. These borrowing practices and other stylistic features are also uncharacteristic of the other movements of Rener's Mass, which appear to have been based on a different version of the chanson model, so that Rener is unlikely to have composed the Credo. One hypothesis that explains these facts is that Obrecht (d. 1505) left his Mass unfinished (the Agnus Dei is also missing); an unknown composer wrote the Credo to make the Mass usable, drawing extensively from the model and from Obrecht's Mass; then Rener (d. ca. 1520) wrote his Mass, incorporating the existing Credo, drawing on its material in other movements, and using Obrecht's Mass as a model. A much later Mass by Anton Barbé on the same chanson (in a version similar to that used by Rener) also draws material primarily from tenor and altus, and pays homage to the Masses by Obrecht and Rener by borrowing a brief passage from each in the opening of each movement.

Works: Obrecht: Missa sine nomine (Missa Veci la danse Barbari); Adam Rener: Missa sine nomine (Missa Veci la danse Barbari) (104, 111-12, 116-27); anonymous, Credo Veci la danse Barbari (105, 111-12, 116-27); Anton Barbe', Missa Vecy la danse de Barbarie (124-27).

Sources: Anonymous: Veci la danse Barbari; anonymous, Credo Veci la danse Barbari (111-12, 123-24); Obrecht: Missa sine nomine (Missa Veci la danse Barbari) (118-20, 123, 126-27); Adam Rener: Missa sine nomine (Missa Veci la danse Barbari) (126-27). (JPB)

Index classifications: 1400s

Noé, Günther von. Die Musik kommt mir äusserst bekannt vor: Wege und Abwege der Entlehnung. Wien and München: Doblinger, 1985.

[On borrowing. Defines terms on pp. 51-53.]

Index classifications: General

Noé, Günther von. "Das musikalische Zitat." Neue Zeitschrift für Musik 124 (1963): 134-37.

Quotation must be understood as a subdivision of the larger field of borrowing, which is a principal component of composition and can be categorized in terms such as conscious vs. unconscious and legitimate vs. illegitimate. Whereas legal and ethical views of quotation have been historically variable, purely musical criteria employed by musicians have emerged to evaluate quotation practices. Quotation is distinguished from thematic reworking and plagiarism by virtue of its specifically extramusical function, intended to be heard by the listener. Quotation may be employed (1) to evoke time, place, or circumstance, (2) as musical wit, (3) as the basis for parody or caricature, or (4) as the basis for exposition of serious content.

Works: Debussy: La bôite à joujouz (136); Busoni: Arlecchino (136); Mozart: Piano Rondo in A minor, K. 511 (136); Berg: Lyric Suite (136). (AJF/DIL)

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

Norris, David Owen. "Liszt?s Winterreise." The Musical Times 126 (September 1985): 521-25.

Liszt's transcription of Schubert's Winterreise represents Liszt's adaptation of Schubert to Romantic performance by introducing some new elements of performance practice, in the process transferring attention from the music to the performer. Liszt's additions of ritardandos and pauses that highlight the emotional quality of the song cycle reflect his embodiment of the contemporary performance style that focused on emotionalism. For instance, Liszt enriches Gute Nacht with several emotional markings, including capricciosamente, delicato, molto appassionato, and un poco più animato. Having a similar function to his emotional markings, his virtuosic figurations were also used to increase excitement, as in the flourishes deployed in Muh.

Works: Liszt: Transcriptions of 12 Songs from Winterreise (522-25).

Sources: Schubert: Winterreise (523-25). (HJK)

Index classifications: 1800s

Norris, Renee Lapp. "Opera and the Mainstreaming of Blackface Minstrelsy." Journal of the Society for American Music 1 (August 2007): 341-65.

Index classifications: 1800s, Popular

Northcott, Bayan. "Peter Maxwell Davies." Music and Musicians 17, no. 8 (April 1969): 36-40, 80-82.

Peter Maxwell Davies's range of borrowings includes plainchant, English carols, elements from Monteverdi's Vespers, and Taverner's In Nomine. Davies's treatment of his borrowed material can be a simple setting, as in movements I, IV, and VI of the Seven In Nomine, in which the settings by Taverner, Bull, and Blitheman are heard unadorned, or in a contrapuntal treatment, as in the second movement of this set of In Nomine when he presents Taverner's melody in retrograde. Alma Redemptoris Mater, a wind sextet, based on the Dunstable motet, uses a cantus firmus-style presentation of melodic material. Davies also uses a motet in Antechrist, but allows it to be destroyed through glissandi, jazz-like allusions, and other ironic techniques. He uses a similar technique in his Purcell realizations, interpreting Purcell's works as foxtrots. The String Quartet takes ideas from the Monteverdi Vespers and presents the cantus firmus in measured time with generated melismas occurring above the melody.

Works: Davies: Seven In Nomine (36-37, 40), Alma Redemptoris Mater (39), Five Motets (39), String Quartet (39), Leopardi Fragments (39-40), Sinfonia (39), Veni Sancte Spiritus (39-40), Shakespeare Music (40), Antechrist (40), Fantasia on a Ground and Two Pavans (82).

Sources: Plainsong (36); English carols (36); Monteverdi: 1610 Vespers (36, 39); Taverner: In Nomine (36-37); Bull: In Nomine (36); Blitheman: In Nomine; Dunstable: Alma Redemptoris Mater (39); Stravinsky: Agon (40). (CMH)

Index classifications: 1900s

Noske, Frits R. "Musical Quotation as a Dramatic Device: The Fourth Act of Le Nozze di Figaro." The Musical Quarterly 54 (April 1968): 185-98.

At six points in Act IV of Mozart's Le Nozze di Figaro, the composer uses musical motives borrowed from earlier in the opera. In each case, the borrowing has a rhetorical significance, referring back to a pertinent circumstance or statement that is newly appropriate or somewhat ironic in its second appearance. This is one more aspect of Mozart's skillful delineation of characters in his operas. (NKT)

Index classifications: 1700s

Nulman, Macy. Concepts of Jewish Music and Prayer. New York: Cantorial Council of American, Yeshiva University, 1985.

The works listed below are examples of classical pieces that make use of Hebrew themes.

Works: Ravel: Deux Mélodies Hebraiques (31); Beethoven: String Quartet, Op. 131 (31); Bruch: Kol Nidrei, Op. 47 (32); Schoenberg: Kol Nidre, Op. 39 (32). (MM)

Index classifications: 1800s, 1900s