An Annotated Bibliography

Obelkevich, Mary Rowen. "Turkish Affect in the Land of the Sun King." The Musical Quarterly 67 (July 1997): 367-89.

Inspired by Greek antiquity, French musicians of the seventeenth century looked to Turkish culture as a "living model" of Greek musical ideas. Among the similarities of Turkish music to Greek music are monophonic and heterophonic texture, tetrachordal constructions, and microtonal tunings. Turkish affects also provided a significant amount of exoticism and novelty, which were sought by musicians and audiences. Turkish art songs, such as those composed by Süleyman Celebi, inspired French attempts at transcription of Turkish music in the seventeenth century, and several aspects of Turkish military music and Janissary bands influenced composition at the court of Louis XIV. In fact, the French tradition of using drum signals to assemble troops was borrowed from the Turkish military tradition. The Sun King went so far as to appoint Lully as director of military music in order for his martial ensembles to compete with Janissary bands. Turkey was also used as a model of ancient music practices in the Parallèle of Charles Perrault.

Works: Lully: Thesée (379-80); Sébastien de Brossard: Marche pour les Turcs (379-80), Marche des Janissaires (379-81).

Sources: Suleyman Celibi: Melvidi Sherif (368-71). (REG)

Index classifications: 1600s

Oettinger, Rebecca Wagner. "Ludwig Senfl and the Judas Trope: Composition and Religious Toleration at the Bavarian Court." Early Music History 20 (2001): 199-225.

Modeled after the Latin devotional song Laus tibi, Christe, the religious folksong O du armer Judas became one of the most commonly used sources of Protestant contrafacta during the German Reformation. In the early decades of the sixteenth century, this melody was linked with Lutheran accusations of Catholic corruption. Martin Luther himself even wrote a contrafactum of the song in 1541 to criticize Duke Heinrich of Braunschweig. The poetic form of this Judaslied became so popular that textual borrowings of the first verse could arouse associations of the simple tune. As Ludwig Senfl was composer to a Catholic court in Bavaria, it is surprising that he would take the risk of creating a polyphonic vocal setting of the Judaslied. Although there is no concrete evidence of a religious conversion to Lutheranism, Senfl did exchange letters with Martin Luther and composed music for the Protestant Duke Albrecht of Prussia. Senfl's quasi-canonic setting was probably not used in folk processions and it is most likely that the work was not performed in Bavaria, although it was preserved there in manuscript.

Works: Folksong: O du armer Judas (199-210); Ludwig Senfl: O du armer Judas (217-25).

Sources: Folksong: O du armer Judas (199-210); Latin devotional song: Laus tibi, Christe (200). (REG)

Index classifications: 1500s

Offergeld, Robert. "More on the Gottschalk-Ives Connection." Institute for Studies in American Music Newsletter 15 (May 1986): 1-2 and 13.

In response to H. Wiley Hitchcock's "Ivesiana: The Gottschalk Connection" (I.S.A.M. Newsletter 15, November 1985), a more thorough treatment of the quotation in Ives's Psalm 90 from Gottschalk's The Last Hope is offered. A hymn setting of Gottschalk's The Last Hope was made in 1866 by the Gottschalk-enthusiast Hubert Platt Main. Alternately titled Gottschalk or Mercy, the hymn is often credited to Edwin Pond Parker and mistakenly dated to 1880. Main's use of The Last Hope, a Gottschalk signature-piece, as a hymn may have been motivated by an infamous incident in 1866 involving Gottschalk and the honor of two young women in San Francisco. In this context, the hymn Gottschalk serves as a confession for the unrepentant pianist. Both George and Charles Ives knew the hymn, and the quotation in Psalm 90 most likely refers directly to it and not to Gottschalk's piece. (EB)

Index classifications: 1800s, 1900s

Orel, Alfred. "Über 'Choräle' in den Symphonien Anton Bruckners." Musica divina 9 (July/August 1921): 49-52.

Index classifications: 1800s

Orga, Ates. "Falla and Spanish Tradition." Music and Musicians16 (August 1968): 24-29.

Falla represents both the culmination of Spanish nationalism and the instigation of Spanish modernism. His works are divided into four periods: to 1907, student years and the emergence of national feelings; 1907-1914, Paris influences; 1914-1919, climax of nationalistic tendencies; and 1920-1946, move away from nationalism to new forms based on the Spanish classical tradition. In the first two periods, represented by works such as El amor brujo and the Three-Cornered Hat, Falla demonstrated the possibilities for incorporating Andalusian folk music, of whose Byzantine, Moorish, and gypsy influences he made an extensive study. In the last period, his preoccupation with the realization of the national spirit gave way to a more severe classical idiom, represented by works such as El retablo de Maese Pedro and the Harpsichord Concerto, which incorporated music from the Spanish Renaissance.

Works: Falla: El amor brujo (26-27), Three-Cornered Hat (27-28), Nights in the Gardens of Spain (28-29), El retablo de Maese Pedro (28), Harpsichord Concerto (28), L'Atlantida (28-29). (AW)

Index classifications: 1900s

Orledge, Robert. Gabriel Fauré. London: Eulenburg Books, 1979.

Index classifications: 1800s, 1900s

Orledge, Robert. "Satie and America." American Music 18 (Spring 2000): 78-102.

Instances of musical borrowing are identified within a study of Erik Satie's relationship with America and its music. Five works from 1900 through 1905 exhibit ragtime stylistic traits, and in Parade (1917), Irving Berlin's That Mysterious Rag is used as a rhythmic model. Borrowing also occurs in Musique d'Ameublement (1923), which uses a phrase resembling Sing a Song of Sixpence, the English nursery rhyme. This musical reference might have been Satie's method of indicating that his commission was easy to fulfill.

Works: Satie: Prélude de La Mort de Monsieur Mouche (80-82), La Diva de l'Empire (81), Le Piccadilly (81), Légende Californienne (82), Parade (84-85), Musique d'Ameublement (92-93).

Sources: Sing a Song of Sixpence (92-93); Berlin: That Mysterious Rag (84-85). (EU)

Index classifications: 1900s

Orlich, Rufina. Die Parodiemessen von Orlando di Lasso. Munich: Wilhelm Fink, 1985.

Index classifications: 1500s

Osmond-Smith, David. "Berio and the Art of Commentary." The Musical Times 116 (October 1975): 871-72.

While Berio based his Recital I on selected fragments of Cathy Berberian's repertory, the Chemins are modeled on the Sequenzas for solo instruments, thus on complete self-sufficient works. The composer expanded the instrumental texture in order to create "sonic aggregates" that could obscure the original structure completely. The resulting piece in turn could become the basis for further extensions: Chemins IIb-IIc and Chemins III are based on Chemins II and thus ultimately on Sequenza VI. "Each new layer creates a new, though related surface, and each older layer assumes a new function as soon as it is covered" (Berio).

Works: Berio: Chemins I, Chemins II, Chemins IIb, Chemins IIc, Chemins III, Chemins IV, Sinfonia, third movement, Recital I. (AG)

Index classifications: 1900s

Osmond-Smith, David. "From Myth to Music: Levi-Strauss's Mythologiques and Berio's Sinfonia." The Musical Quarterly 67 (April 1981): 230-60.

The first and fifth movements of Luciano Berio's Sinfonia set fragments of Le cru et le cuit, Levi-Strauss's analysis of South American Indian myths, and the third movement is a commentary on the third movement of Gustav Mahler's Second Symphony "Resurrection"). None of the other quotations in the third movement are treated. The outer movements are unified with the central one by the fact that in his analysis, Levi-Strauss attempted to forge groups of the myths he studied into structures analogous to those of Western classical music.

Works: Berio: Sinfonia. (RCL)

Index classifications: 1900s

Ossi, Massimo. "Monteverdi, Marenzio, and Battista Guarini's 'Cruda Amarilli.'" Music and Letters 89 (August 2008): 311-36.

Monteverdi's famous madrigal setting of Battista Guarini's text from Il pastor fido, "Cruda Amarilli," places him within a tradition of Cruda Amarilli madrigals, but also sets him apart in his overt modeling on Marenzio's setting of the same text and on the madrigal book in which it is found, Settimo libro de' madrigali a cinque voci (1595). The four most prominent Cruda Amarilli madrigals, by Giaches de Wert, Marenzio, Monteverdi, and Benedetto Pallavicino, are clearly interrelated musically through motivic, structural, harmonic, and textural similarities. The Marenzio and Wert settings, while borrowing from each other as well, can be viewed as clear models for Monteverdi and Pallavicino. Yet the prominent similarities between Monteverdi's and Marenzio's Cruda Amarilli settings must be approached through a contextualization within their relative madrigal books. In a comparison of these two books, it is evident that Monteverdi paid close attention to Marenzio's use and organization of Pastor fido texts and constructed his own book accordingly. Such a clear case of modeling could be attributed to Monteverdi's desire to promote himself within the Ferrarese and Mantuan courts and to create connections with intellectual and patronage circles specifically linked to Marenzio. Thus, Monteverdi places himself within a tradition of madrigal settings while simultaneously forging a distinct relationship with Marenzio in an effort to promote his career and to ally himself with another well-respected composer of the day.

Works: Giaches de Wert: Cruda Amarilli (316-20); Marenzio: Cruda Amarilli (316-20); Benedetto Pallavicino: Cruda Amarilli (320-26); Monteverdi: Cruda Amarilli (320-28), Quinto libro de' madrigali a cinque voci (328-36).

Sources: Giaches de Wert: Cruda Amarilli (316-20); Marenzio: Cruda Amarilli (316-20), Settimo libro de' madrigali a cinque voci (328-33). (EE)

Index classifications: 1500s, 1600s

Oster, Ernst. "The Fantaisie-Impromptu: A Tribute to Beethoven." In Aspects of Schenkerian Theory, ed. David Beach, 189-207. New Haven: Yale University Press, 1983.

A Schenkerian analysis of Chopin's Fantaisie-Impromptu, Op. 66 (1834) and Beethoven's Piano Sonata Op. 27, No. 2, both in C sharp minor, reveals remarkable similarities between the two. These parallels imply that Chopin's Op. 66 was deeply influenced by Beethoven's Op. 27, No. 2, notably by the coda that ends its finale. These works share: key (the outer movements or sections in C sharp minor, the middle ones in D flat major), main motive, inversion of the motive at the end of a movement or section, literal quotation, and more. These similarities, and data documenting Chopin's fondness of Beethoven's sonata, explain Chopin's refusal to publish his piece. Chopin's study of Beethoven, epitomized in his Op. 66, is a unique case where a genius demonstrates his thorough understanding of another genius.

Works: Chopin: Fantaisie-Impromptu in C sharp Minor, Op. 66.

Sources: Beethoven: Piano Sonata in C sharp Minor, Op. 27, No. 2. (TB)

Index classifications: 1800s

Osthoff, Helmuth. Josquin Desprez. 2 vols. Tutzing: Hans Schneider, 1962-1965.

Index classifications: 1400s, 1500s

Osthoff, Helmuth. "Ein Josquin-Zitat bei Heinricus Isaac." In Liber amicorum Charles van den Borren, ed. Albert Vander Linden, 127-34. Anvers: Imprimerie Lloyd Anversois, 1964.

Isaac based his Sustinuimus pacem et non invenimus, Domine on two cantus firmi, using a version of the well known Basque tune Una musque de Buscaya in the tenor and the superius of Josquin's chanson En l'ombre d'un buissonet tout au loing d'une rivière in the superius. The new textural context of the latter accounts for the few musical deviations. (AG)

Index classifications: 1400s

Osthoff, Wolfgang. "Beethovens Grétry-Variationen WoO 72." Revue belge de musicologie 47 (1993): 125-42.

Index classifications: 1700s

Osthoff, Wolfgang. "Hans Pfitzner's 'Rose vom Liebesgarten': Gustav Mahler und die Wiener Schule." In Festschrift Martin Ruhnke zum 65. Geburtstag, 265-93. Neuhausen-Stuttgart: Institute für Musikwissenschaft der Universität Erlangen-Nürnberg, 1986.

Index classifications: 1900s

Osthoff, Wolfgang. "Eine neue Quelle zu Palestrinazitat und Palestrinasatz in Pfitzners Musikalischer Legende." In Renaissance-Studien. Helmuth Osthoff zum 80. Geburtstag, ed. Ludwig Finscher, 185-209. Tutzing: Hans Schneider, 1979.

It has long been unclear how much Hans Pfitzner borrowed from Palestrina in his opera (1917) named after this 16th-century composer. Only two borrowings have been identified, whereas four others have remained doubtful. In 1973, the Bayrische Staatsbibliothek received Pfitzner's copy of Palestrina's Missa Papae Marcelli. This manuscript proves that Pfitzner studied this work much more carefully than scholars hitherto have believed. It includes many marked passages with square brackets and Osthoff shows that these passages were intended to be used in the opera. Pfitzner, however, not only quoted from the Missa Papae Marcelli. In the sketches of his opera, he designated the melody in Act I on "patrem omnipotentem" (sung by the chorus of the angels) as a cantus firmus. Osthoff identifies it as a quotation from the Missa Aspice Domine (a parody mass) and not from the Missa Papae Marcelli as Albert Fleury claimed before. The markings also indicate that Pfitzner borrowed not only melodic and harmonic passages but also techniques, such as falsobordone, parallel tenths in outer parts, and sixteenth-century stereotyped figures including the cambiata and typical cadences. According to Osthoff, the technique of inserting small isolated elements into a new composition is significant for the structural thinking of twentieth-century composers. (AG)

Index classifications: 1900s

Osthoff, Wolfgang. "Pfitzner-Goethe-Italien: Die Wurzeln des Silla-Liedchens im Palestrina." In Analecta Musicologica 17, 194-211. Studien zur italienisch-deutschen Musikgeschichte 11.

Index classifications: 1900s

Oswald, John. "Plunderphonics, or Audio Piracy as a Compositional Prerogative." Musicworks 34 (Spring 1986): 5-8.

Index classifications: 1900s, Popular

Oswald, John. "Plunderphonics, or Audio Piracy as a Compositional Prerogative." 1990. Available from http://www.halcyon.com/robinja/mythos/Plunderphonics. (Accessed 16 November 2002).

Legal rights over recorded sound materials involve many difficult issues. Although many artists have been incriminated for use of another's pitch and rhythmic materials, there is more difficulty concerning borrowing of timbres and less quantifiable musical elements within copyright laws. In fact, artists who use technology to create their works often use pitch and rhythm elements less than timbral elements. The oral tradition of popular music compounds this issue. Traditionally, plagiarism has been determined by the written notes on a page, but purely recorded musical works have no written component. This makes the case of copyright violation more difficult. Unique uses of instruments either associated with particular nationalities, such as the Trinidadian steel drum, or created from traditionally non-musical objects, such as a blade of grass cupped in one hands, also compound copyright issues. Does one's unique appropriation of such instruments give the person the rights over those sounds? Within American and Canadian copyright law, borrowing for pedagogical, illustrative, critical, and parody purposes qualifies as legal fair use. As long as the "economic viability" of the source work is maintained, there is no violation of copyright law. Moreover, borrowing of works in the public domain has no legal repercussions. Whether considered legal or not, all popular and folk music exists as public domain entities.

Works: Charles Ives: Symphony No. 3; George Harrison: My Sweet Lord; Jim Tenney: Collage 1.

Sources: Ronnie Mack: He's so Fine; Carl Perkins: Blue Suede Shoes. (VLM)

Index classifications: 1900s, Popular

Ould, Barry Peter. "Oh I Can't Sit Down: Version for One Piano Six Hands (From Grainger's Transcription)." The Grainger Journal 5 (November 1983): 10-14.

Between 1944 and 1951, Percy Grainger made a number of arrangements of George Gershwin's works. In addition to his Fantasy on Themes from Gershwin's Porgy and Bess and the songs The Man I Love and Love Walked In, Grainger set two other songs from Porgy and Bess independently: "Oh, I Can't Sit Down" and "Oh, Lord I'm On My Way." Grainger's Oh, I Can't Sit Down is scored for three pianists at one piano and it appears that the third part is in fact a written-out improvisation which was added to the song as it appears in his Fantasy for Two Pianos. Based on this evidence, it does not appear that Grainger ever intended to publish this arrangement. As with his Bridge on the River Kwai Marches, this setting was probably intended as yet another of his "at-home" experiments.

Works: Grainger: Porgy and Bess Fantasy, The Man I Love, Love Walked In, Oh, Lord I'm On My Way, Oh, I Can't Sit Down, Bridge on the River Kwai Marches. (JAJ)

Index classifications: 1900s

Packer, Dorothy S. "La Calotte and the 18th Century French Vaudeville." Journal of the American Musicological Society 23 (Spring 1970): 61-83.

Index classifications: 1700s

Paganuzzi, Enrico. "L'Autore della melodia della Altercatio cordis et oculi di Philippe le Chancelier." Collectanea Historiae Musicae 2 (1957): 339-43.

Index classifications: Monophony to 1300

Pahissa, Jaime. Manuel de Falla: His Life and Works. Translated by Jean Wagstaff. London: Museum Press, 1954.

Falla's friend Pahissa provides an account of the development of the composer's musical life through a series of anecdotal descriptions of their encounters. Each of Falla's most significant works receives an independent, if brief, descriptive analysis, in which Falla's change from an evocative Spanish idiom to a more severe, abstract universal idiom is noted. The use of folksong quotations (which are mentioned without documentation) changes in accord with style changes. In earlier works, folksongs and folk sounds are used for their picturesque qualities. In the later works, they are subjected to classical developmental techniques.

Works: Falla: Four Spanish Pieces (50-53), Seven Popular Songs (76-79), El amor brujo (87-91), Nights in the Gardens of Spain (93-96), The Three-Cornered Hat (98-104), Hommage pour le tombeau de Debussy (112-13), El retablo de maese Pedro (126-29), Harpsichord Concerto (137-38), Homenajes (145-47). (AW)

Index classifications: 1800s, 1900s

Palisca, Claude. "French Revolutionary Models for Beethoven's Eroica Funeral March." In Music and Context: Essays for John M. Ward, ed. Anne Dhu Shapiro, 198-209. Cambridge, Mass.: Department of Music, Harvard University, 1985.

Beethoven's homage to Napoleon in his Symphony No. 3 has been the subject of much debate and extensive research. Of all the movements in the symphony, it is the Marcia funebre second movement that provides the most telling evidence of Beethoven's allegiance to French Republican music of the 1790s. The passage beginning at m. 19 of the Marcia funebre seems to be a direct parody of a passage from Gossec's Marche Lugubre (beginning at m. 30). Yet most of the musical devices that Beethoven employs--such as the imitations of drumrolls, cadential unison passages, and lyrical hymnlike themes--are not overt borrowings, but rather represent a unique assimilation of conventions culled from the earlier tradition. (MSS)

Index classifications: 1800s

Palmer, Christopher. "Prokofiev, Eisenstein and Ivan." The Musical Times 132 (April 1991): 179-81.

The 1941 film Ivan was produced and directed by Sergei Eisenstein in Moscow, Russia, based on the life of Ivan the Terrible. The film's score, by Sergei Prokofiev, borrows heavily from Russian folk and ecclesiastical idioms to convey nationalistic sentiments. The Russian folk songs "Russian Sea" and "Song of the Beaver" are used and both a "round dance" and an ardent love song are modeled on the folk idiom. Humming of a liturgical chant results in a "devil's parody." Close modeling on the works of Rimsky-Korsakov are evident through the thematic material in his first opera, The Maid of Pskov, a narrative of Ivan the Terrible, and the similarities of folk idiom use in Act III of The Snow Maiden, where the woodland festivities begin with a "round dance" and "Song of the Beaver." Prokofiev may or may not have intentionally borrowed from the folk traditions or from Rimsky-Korsakov, but the fact that the score is so saturated with Russian folk and ecclesiastical idioms shows how conversant he was with his own musical heritage.

Works: Sergei Prokofiev: score for Ivan (179-81).

Sources: Russian traditional song: Russian Sea, Song of the Beaver (179); Nikolay Rimsky-Korsakov: The Maid of Pskov, The Snow Maiden, The Tsar's Bride (179). (KEW)

Index classifications: 1900s, Film

Pamer, Fritz Egon. "Gustav Mahlers Lieder: eine stilkritische Studie." Ph.D. diss., University of Vienna, 1922.

Index classifications: 1800s, 1900s

Pamer, Fritz Egon. "Gustav Mahlers Lieder." Studien zur Musikwissenschaft 16 (1929): 116-38; 17 (1930): 105-27.

This study is an excerpt from Pamer's Ph.D. dissertation (Vienna, 1922). In the first part, the author lists original folksongs Mahler reworked in his own songs (122-23) and discusses their melodic features (136-38). In the second part, Pamer discusses the influence of Mahler's early musical impressions (especially folksongs, military fanfares and marches) on his songs in terms of rhythm, meter and tempo changes, thematic construction, harmony, and tonality. On pp. 125-27 he mentions the re-use of some songs in Mahler's symphonies, giving a very rudimentary interpretation. The musical examples of this second part are mostly taken primarily from Mahler's works and seldom from the material that influenced him. (AG)

Index classifications: 1800s, 1900s

Parker-Hale, Mary Ann Elizabeth. "Handel's Latin Psalm Settings." Ph.D. diss., University of Rochester, Eastman School of Music, 1981.

Index classifications: 1700s

Parmer, Dillon. "Brahms, Song Quotation, and Secret Programs." 19th-Century Music 19 (Fall 1995): 161-90.

Index classifications: 1800s

Parton, James Kenton. "Cantus Firmus Techniques and the Rhythmic Elements of Style in the Organ Music of Early Tudor Era." Ph.D. diss., North Texas State University, 1964.

Index classifications: 1400s, 1500s

Partsch, Erich Wolfgang. "Dimensionen des Errinerns: Musikalische Zitattechnik bei Richard Strauss." Musicologica austriaca 5 (1985): 101-20.

[Focus on Ariadne auf Naxos, Die schweigsame Frau, and Capriccio.]

Index classifications: 1900s

Patrick, James. "Charlie Parker and the Harmonic Sources of Bebop Composition: Thoughts on the Repertory of New Jazz in the 1940s." Journal of Jazz Studies 2 (1975): 3-23.

In bebop music, especially that of Charlie Parker, new compositions were created by composing new melodies to pre-existing chord progressions and forms. By analogy to contrafactum (the practice of fitting a new text to a pre-existing melody), which dates from the Middle Ages or earlier, this technique is called "melodic contrafact." The two most common songs or forms that provided the harmonic and formal material for contrafacts were George Gershwin's I Got Rhythm and the twelve bar blues. Many bebop contrafacts, like Parker's Ornithology, Perhaps, and Cool Blues, employed previously used improvisational "riffs" (short melodic-rhythmic passages). Pragmatic applications of the jazz contrafact include the "jam session," wherein musicians who did not regularly perform together would congregate and improvise on these familiar chord progressions, and recording sessions in which there was a very limited amount of time to record unrehearsed material. In addition, recording companies could avoid paying royalties to the composer of the source song because the chords of a song were not protected by copyright laws. Contrafacts and their harmonic innovations were an outgrowth of bebop ideology, which was characterized by Afro-centrism and emphasis on virtuosity.

Works: Bechet: Shag (3); Parker: Dexterity (3, 13), Ornithology (4, 17), Scrapple From the Apple (4, 13, 19), Now's the Time (4), Relaxin' at Camarillo (4), Klactoveedsedstene (4, 13), Billie's Bounce (4), The Jumpin' Blues (7), Perhaps (7-8), Cool Blues (8, 19); Gillespie: Dizzy Atmosphere (8), Salt Peanuts (9-10); Ellington: Cotton Tail (9); Sampson: Don't Be That Way (9), Carter: Pom Pom (10); Parker: Red Cross (12), Tiny's Tempo (12), Bongo Bop (13-14), Dewey Square (13), The Hymn (13), Bird of Paradise (13), Bird Feathers (13), Quasimodo (14-15), Parker/Gillespie: Moose the Mooche (17, 18), Yardbird Suite (17); Parker: Klaun Stance (18).

Sources: Gershwin: I Got Rhythm (3, 5, 8-13, 17); Kern: All the Things You Are (13, 18); Gershwin: Embraceable You (15); Kern: The Way You Look Tonight (18). (STG/EU)

Index classifications: Jazz

Patterson, David W. "Music, Structure and Metaphor in Stanley Kubrick's 2001: A Space Odyssey." American Music 22 (Fall 2004): 444-74.

Stanley Kubrick sampled over 400 recordings to create the score to 2001: A Space Odyssey, replacing original music by Alex North. While the soundtrack of pre-existing music would become quite popular, some denounced it for being arbitrary and cheaply exploiting classical music. Until recently, these issues have kept the music from being discussed as a musical score. Reading the entire soundtrack as a unit allows it to be understood as a chronological progression of harmonic languages that create unity throughout the film, which emphasizes structure and proportion both visually and aurally. Aural cues also underscore certain themes; for example, the opening of Also Sprach Zarathustra represents birth and becoming. Despite the patchwork form of the soundtrack, borrowed atonal and tonal harmonic streams are effectively utilized to create a score that intersects with the film's narrative.

Works: Stanley Kubrick (director): Sound track to 2001: A Space Odyssey.

Sources: György Ligeti: Atmosphères (448-50, 456-57), Requiem (452-53, 456-57), Lux Aeterna (456-57), Aventures (467-69); Richard Strauss: Also Sprach Zarathustra (450-52, 455-56); Johann Strauss: The Blue Danube Waltz (453-56); Aram Khachaturian: Gayane (458-61); Mildred Hill: Happy Birthday (461-62); Harry Dacre: Daisy Bell (463-67). (KRA)

Index classifications: 1900s, Film

Payne, Ian. "Capital Gains: Another Handel Borrowing from Telemann?" The Musical Times 142, no.1874 (Spring 2001): 33-42.

Telemann's Violin Concerto in B-flat Major and Handel's Overture in D, Ottone, and Sonata à 5 have significant interrelationships. Handel uses the orchestral ritornello opening of the third movement of Telemann's concerto for the fugue subject of his overture in D. Telemann's concerto works well as a source because its solo episodes hint at a fugal outline. Handel expands this subject into a formal fugue in his overture by changing and extending the countersubject. He uses the beginning of this subject again in the greatly extended fugue of the overture to Ottone. This practice of only using the beginning motive of a fugue without preserving other features is a common practice for Handel's borrowings. Although there are several other Handel works which use similar opening gestures, there is no evidence borrowing occurred in these cases. The borrowing between this Telemann concerto and these three Handel works is much more likely because of the personal correspondence and long history of borrowing between the two composers.

Works: Handel: Overture in D, HWV 337 (33-35, 37), Ottone, HWV 15 (33, 35-36); Telemann: Violin Concerto in B-Flat Major, TWV 51:B2 (33), Concerto Grosso, Op. 6, No. 12 (36).

Sources: Telemann: Violin Concerto in B-Flat Major, TWV 51:B2 (33-35, 37-38); Handel: Sonata à 5, HWV 288 (33, 38-39); Friedrich Wilhelm Zachow: Keyboard Suite in B Minor (36). (DRN)

Index classifications: 1700s

Payne, Ian. "Double Measures: New Light on Telemann and Bach." The Musical Times 139 (Winter 1998): 44-45.

A recent study of the manuscript of Telemann's Flute Concerto, Kross Fl. G1 (TWV51:G2) in G major, reveals that the bass part does survive. This discovery allows a reconstruction of the piece. The headings on two solo part copies indicate that the concerto was intended for either oboe or flute solo. These findings make a more significant discovery: J. S. Bach borrowed literally the first three measures of Telemann's opening Largo to the beginning of the slow movement of his Keyboard Concerto in A-flat major, BWV 1056. More studies show that Bach borrowed this musical material prior to the Keyboard Concerto, namely in a D minor Oboe Concerto, and the opening Sinfonia to his Cantata of 1729, Ich steh mit einem Fuss in Grabe, BWV 156.

Works: J. S. Bach: Keyboard Concerto in A-flat Major, BWV 1056/ii (45).

Sources: Telemann: Flute Concerto in G Major, TWV 51: G2 (Kross Fl. G 1) (45). (TC)

Index classifications: 1700s

Payne, Ian. "A Tale of Two French Suites: An Early Telemann Borrowing from Erlebach." The Musical Times 147 (Winter 2006): 77-83.

In his Trio Sonata in D Minor TWV 42:d11, Telemann appears to have borrowed directly from Johann Heinrich Erlebach's VI Ouvertures using the technique of "transformative imitation." This technique is defined as borrowing a motive or phrase from a respected model and adapting the material as part of a new composition, bringing a fresh, critical reading to the piece, and creating a new product. In his second movement, En Menuet, Telemann reworked the first four-bar phrase from Erlebach's Air Menuet I, creating a quasi-imitative texture that was not part of the original, and he also manipulated a cadential block of the model by placing it within the middle of a new phrase. Both of these borrowings helped transform the model from a simple binary form into an extended and highly developed rondeau form. In addition, Telemann may have borrowed from Erlebach in the opening Gravement, though he disguised this heavily through fragmentation and melodic elaboration. Telemann's method of borrowing in these passages mirrors his borrowing of material from the composers Fux and Campra in which he lifted short blocks of material, changed them slightly, and reorganized them within the context of new material.

Works: Telemann: Trio Sonata in D Minor for Two Treble Instruments, TWV 42:d11.

Sources: Erlebach: Overture No. 6 in G Minor from VI Ouvertures. (MER)

Index classifications: 1700s

Peake, Luise Eitel. "The Antecedents of Beethoven's Liederkreis." Music and Letters 63 (July/October 1982): 242-60.

In his song cycle An die entfernte Geliebte, Beethoven shows awareness of the whole tradition of compositions written for "song circles" and writes to meet the conventional expectations of hidden symbolism. Specifically, the cycle contains reworked material from Ries's "An die Erwählte" from his Sechs Lieder von Goethe.

Works: Beethoven: An die entfernte Geliebte. (RCL)

Index classifications: 1800s

Pearson, Ian David. "Paisiello's 'Nel cor più non mi sento' in Theme and Variations of the 19th Century." Music Research Forum 21 (2006): 43-69.

The numerous variations on Paisiello's "Nel cor più non mi sento" from the opera La Molinara demonstrate Paisiello's extensive and lasting influence throughout the late eighteenth and early nineteenth century and serves as a touchstone for examining the trajectory of variations procedures during this time. Variations on "Nel cor più non mi sento" emerged in at least three contexts. First, singers elaborated upon the work, essentially creating their own variations. Second, opera fantasias and chamber music provided a ready forum for variations on the tune, especially in cities where La Molinara was well-received. Finally, the growth of the market for published arrangements prompted popular variations on the tune. Between 1790 and 1820, variations remained close to Paisiello's classical style, and arrangements from this period generally were for private use. After 1820, emerging virtuosos also took up "Nel cor più non mi sento," using expanded proportions and new techniques. Although variations on "Nel cor più non mi sento" were readily available in sheet music form in the United States throughout the first half of the nineteenth century, by 1850 its popularity had faded.

Works: Mr. Meyer, arr.: "Ah, Will No Change of Clime," from Inkle and Yarico (43-45); Madame Catalani: Variations on "Nel cor più non mi sento" (44-47); Beethoven: Six Variations on "Nel cor più non mi sento," WoO 70 (47, 51-53); Josepha Barbara von Auernhammer: Six Variations for the Harpsichord on "Nel cor più non mi sento" (49-51); Joseph Gelinek: Six Variations on the Duet "Nel cor più non mi sento" from the Opera "La Molinara" for Harpsichord or Pianoforte (49-52); Felix Janiewicz: Variations on "Nel cor più non mi sento" (53); Joseph Mazzinghi: Madam Catalani's Celebrated Air (53); Louis Drouet: Variations on Paisiello's "Nel cor più non mi sento" (54); Fernando Sor: Fantasie pour la Guitare avec des Variations sur l'Aire de Paisiello "Nel cor più non mi sento" (54); Paganini: Nel cor più non mi sento (54-56), Giovanni Bottesini: Nel cor più non mi sento: Variazioni de Bottesini per Contrebasse (54-55); Mauro Giuliani: Variationen über "Nel cor più non mi sento" von Paisiello en Polonaise, Op. 113, for guitar and piano (55-56); Luigi Legnani: Variations on the Duet "Nel cor più non mi sento" from "La Molinara" by Paisiello, Op. 16 (55-56); Bartolomeo Bortolazzi: Variationen über "Nel cor più non mi sento" für Mandoline und Gitarre, Op. 8 (55-56); Luigi Castellacci: Nel cor più non mi sento Nouvellement Varié, Op. 35 (56-57); Johann Wenth: Variations sur un theme de G. Paisiello de l'opera "La Molinara" (57); Johann Baptist Vanhal: Sechs Variationen über das Theme "Nel cor più non mi sento" für Flöte (Violin) und Gitarre, Op. 42 (57-58); Friedrich Silcher: Variationen über "Nel cor più non mi sento" für Flöte und Klavier (57-58); Theobald Boehm: Nel cor più, Op. 4 (57-58); Heinrich Neumann: Theme und Variationen über "Nel cor più non mi sento" (57-59); Johann Wilhelm Wilms: The Favorite Air of Hope Told a Flattering Tale (57-58); Charles Bochsa: Thema und Variationen über "Nel cor più non mi sento," Op. 10 (59); Walter P. Dignam: Hope Told a Flattering Tale, E-Flat Cornet Air Varié (60).

Sources: Paisiello: "Nel cor più non mi sento," from La Molinara (43-62); Mozart: Piano Concerto in C Minor, K. 491 (49-50); Madame Catalani: Variations on "Nel cor più non mi sento" (53). (VEW)

Index classifications: 1700s, 1800s

Pelnar, Ivana. "Neu entdeckte Ars-Nova-Sätze bei Oswald von Wolkenstein." Die Musikforschung 32 (January/March 1979): 26-33.

Pelnar shows that two separately notated parts in the Wolkenstein manuscript A (fols. 17r and 18r) belong together, constituting the song Frölichen so wel wir, which in turn is a contrafactum of the ballad Ay je cause destre lies et joyeux. In this and a second contrafactum (Frölich, zärtlich, lieplich based on the rondeau En tes doulz flans), Pelnar shows that in order to realize a better relation between the new text and the music, Oswald also made some melodic and rhythmic changes.

Works: Oswald von Wolkenstein: Frölichen so wel wir (26-30), Frölich, zärtlich, lieplich und klärlich, lustlich, stille, leise (31-32). (AG)

Index classifications: 1400s

Peraino, Judith A. "Monophonic Motets: Sampling and Grafting in the Middle Ages." The Musical Quarterly 85 (Winter 2001): 644-80.

Monophonic works identified in medieval sources as motets lie outside our traditional definition of the motet. Although not all monophonic motets were motets entés in the commonly understood sense of borrowing refrains, the concept of grafting (enté) between monophonic and polyphonic repertories was integral to this genre of monophonic motets, as attested to by both medieval theoretical sources and modern analysis. By relating monophonic motets to sampling in today's popular music, one can gain insights about the intertextual nature of monophonic motets and the ways in which they engage their audience through technology (notational) and literacy (musical and textual). For example, the motet D'amor nuit et jor me lo (F-Pn fr. 845), although recorded in nonmensural notation like the other monophonic motets in its source, has notational peculiarities that suggest that it was transcribed from a voice of a polyphonic work recorded in mensural notation. Moreover, "grafting," whether in music or in gardening, implies a sense of cultural refinement that raises the motet enté to a level of technical and intellectual superiority. These motets represent a moment of transition in recording technology (notation and literacy), drawing from both the trouvère tradition, which was monophonic and orally transmitted, and the motet tradition, which grew out of an intellectual and literate context.

Works: Anonymous: En non Dieu c'est la rage (646-49, 674), Quant plus sui loig de ma dame (654-44), D'amor nuit et jor me lo (652, 660-62), Onc voir par amours n'amai (663-64), Bone amourete m'a souspris (664-66), Han, Diex! ou purrai je trouver (672-74).

Sources: Adam de la Halle: Bonne amourete mi tient gai (664-66); Anonymous (from Le roman de Fauvel): Ve qui gregi deficiunt (672-74). (EE/KO/VEW)

Index classifications: Monophony to 1300, Polyphony to 1300, 1300s

Perkins, Laurence. "The Sonatas for Violin and Piano by Charles Ives." M.M. thesis, Eastman School of Music, 1961.

Index classifications: 1900s

Perkins, Leeman L. "Communication." Journal of the American Musicological Society 40 (Spring 1987): 130-34.

Cantus firmus masses with multiple borrowings were written by both contemporaries and precursors of Johannes Martini, a point J. Peter Burkholder failed to stress in his article on Martini (1985). In particular, Okegehm constitutes an important pre-Martini example of a composer writing cantus firmus masses with multiple borrowings. A chronology of borrowing practices may be established by examining who emulated whom. Regardless of the terminology chosen, the fundamental difference between masses with cantus firmi derived from chant and those derived from polyphonic pieces is that the latter preserve, literally or proportionally, the rhythm of the borrowed material, while the former do not. It is better on the whole, however, to use the term cantus firmus mass for all those works built around a borrowed melody.

Works: Févin: Missa Ave Maria; Martini: Missa Ma bouche rit; Obrecht: Missa Caput, Missa Fors seulement; Okegehm: Missa Fors seulement. (EDL)

Index classifications: 1400s

Perkins, Leeman L. "The L'Homme Armé Masses of Busnoys and Okeghem: A Comparison." Journal of Musicology 3 (Fall 1984): 363-96.

At the origin of the L'homme armé tradition in the fifteenth through seventeenth centuries is a group of four masses: Busnoys's L'homme armé, Okeghem's L'homme armé, Dufay's Missa L'homme armé, and Johannes Regis's Missa Dum sacrum mysterium. All four borrow elements from two chansons--Robert Morton's Il sera pour vous/L'ome armé, a polyphonic setting of the popular tune, and Okeghem's L'aultre d'antan, itself modeled upon Morton's setting. Modal procedure, mensuration, and similarities of melodic and contrapuntal design provide evidence of the borrowings. The masses by Busnoys and Okeghem show that one cantus firmus mass may be modeled on another, and thus the distinction between cantus firmus and parody masses is conceptual rather than compositional. Since Il sera pour vous originated in the Burgundian ducal court, Busnoys's mass is presumed the earliest. Okeghem most likely composed his mass soon after, judging by the treatment of material borrowed from the two chansons and by similarities to Busnoys's work. These borrowings are rooted in the rhetorical tradition of imitatio, a concept with which Busnoys, Okeghem, Dufay, and Regis were familiar. (EB)

Index classifications: 1400s

Perkins, Leeman L. "Mode and Structure in the Masses of Josquin." Journal of the American Musicological Society 26 (Summer 1973): 189-239.

Index classifications: 1400s, 1500s

Perle, George. The Operas of Alban Berg. Vol. 2, Lulu. Berkeley: University of California Press, 1985.

The drama Lulu is the culmination of Berg's musical style. The great significance of the composer's personal life for the opera and other compositions is evident in his use of quotation. This takes the form of self-quotation (Wozzeck is quoted in Lulu) and of borrowing from other composers. The Lyric Suite quotes Zemlinsky's Lyric Symphony and Wagner's Tristan and Isolde, and the Violin Concerto quotes a Bach chorale and a Carinthian folksong. When borrowings are text-related, the unstated text is highly significant. Quotations are used to convey a program or for dramatic purposes.

Works: Berg: Lyric Suite (13-18, 256), Lulu (29, 256), Violin Concerto (255-57), Wozzeck (256). (CMC)

Index classifications: 1900s

Perle, George. "The Secret Programme of the Lyric Suite." The Musical Times 118 (August 1977): 629-32; and (September 1977): 709-13, 809-13.

The discovery of a miniature score of Alban Berg's Lyric Suite annotated by the composer for Hanna Fuchs-Robettin confirms that a secret program existed for this composition. A detailed description of the annotated score indicates the personal significance of the compositional practices and musical language of the work, including use of musical quotations from Wagner's Tristan und Isolde, from Zemlinsky's Lyric Symphony (also text-related), and from Berg's own Wozzeck to convey the program. This discovery suggests that there is personal significance in Berg's compositional techniques in other works and raises questions concerning the unfinished third act of Lulu and the authenticity of source materials formerly considered reliable. (CMC)

Index classifications: 1900s

Perlove, Nina Margaret. "Ethereal Fluidity: The Late Flute Works of Aaron Copland." DMA diss., University of Cincinnati, 2003.

Index classifications: 1900s

Perrin, Robert H. "Descant and Troubadour Melodies: A Problem in Terms." Journal of the American Musicological Society 16 (Fall 1963): 313-24.

The word "descantava" in a Provençal vida of the troubador Gui d'Uisel refers not to the addition of a descant, or upper melodic line, but rather to the practice of writing a satirical response to an existing poem. Such responses usually employed the same melodies, stanza structures, and rhyme schemes.

Works: Peire d'Uisel: Fraire en Gui, be'm platz vostra cansos (317-18); Peire Cardenal, Ar mi posc eu lauzar d'amor (319, 320), Rics hom que greu ditz vertat e leu men (319); Monk of Montadon: Be'm enoia s'o auzes dire (319-22).

Sources: Giu d'Uisel: Si be'm partetz, mala dompna, de vos (317-18); Guiraut de Bornelh: No posc sofrir qu'a la dolor (319, 320-21); Raimon Jordan: Vas vos soplei, domna, premieramen (319); Bertran de Born: Rassa tan cries e mont'e poja (319-22). (FC)

Index classifications: Monophony to 1300

Pesce, Dolores, ed. Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance. New York: Oxford University Press, 1997.

[Need citations of individual articles.]

Index classifications: Polyphony to 1300

Pesce, Dolores. "Beyond Glossing: The Old Made New in Mout me fu grief/Robin m'aime/Portare." In Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Dolores Pesce, 28-51. Stanford, Calif.: Stanford University Press, 1997.

The motet Mout me fu grief/Robin m'aime/Portare illustrates how composers of the late thirteenth century used and combined borrowed texts and tunes. The motetus is the rondeau Robin m'aime; the tenor uses a Portare chant fragment that contains a dual focus between the pitches c and g; and the triplum contains four fragments borrowed from an earlier motet. In Mout me fu grief/Robin m'aime/Portare, the tonal plan of the motet is informed by the motetus, causing changes to be made in the tenor and triplum. Although the chant is often thought to be the "immutable foundation" upon which a motet is constructed, evidence shows that composers thought of it as merely one strand in the polyphonic web. The texts of this motet interact in such a way as to suggest linkages between Mary and the Cross, joy and sorrow, and the Song of Songs tradition of human love as a metaphor for divine love.

Works: Anonymous: Mout me fu grief/Robin m'aime/Portare (30-40).

Sources: Alleluia Dulce lignum (29-34, 38-40); Adam de la Halle: Robin m'aime (28, 30-31, 37-38); Four passages from Montpellier, Bibliothèque Interuniversitaire, Section Médecine, MS H.196 3, 37 (36-37). (FC)

Index classifications: Polyphony to 1300

Pesce, Dolores. "Expressive Resonance in Liszt?s Piano Music." In Nineteenth-Century Piano Music, ed. R. Larry Todd, 355-411. New York: Routledge, 2004.

Liszt sought to achieve union of form and content in his piano music, as discussed in detail according to genre, including his piano cycles, sonatas, ballades, etudes, and fantasias. The section "Ballades, Polonaises, Mazurkas, and Other Dances" examines works by Liszt that take Chopin as a model to pay homage to him. These genres that represent Chopin par excellence were neglected in Liszt's earlier works but became more prominent after Chopin's death in 1849, suggesting homage to the Polish composer. The middle section of Liszt's Polonaise No. 2 in E Major, for instance, is modeled on Chopin's Polonaise in A Major, Op. 40, No. 1, referring to the thematic material accompanied by the characteristic polonaise rhythm from the corresponding section of the model, both capturing a martial quality. Liszt's first Ballade incorporates many elements from Chopin's works and styles, including his first Ballade, Op. 23, the Funeral March, and periodic phrasing unusual for Liszt.

Works: Liszt: Ballade No. 1 in Db Major (393), Polonaise No. 2 in E Major (393, 397).

Sources: Chopin: Ballade No. 1 in G Minor, Op. 23 (393), Grande valse brillante, Op. 18 (393), Sonata No. 2 in Bb Minor, Op. 35 (393), Polonaise in A Major, Op. 40, No. 1 (393, 397). (HJK)

Index classifications: 1800s

Pesce, Dolores. "MacDowell's Eroica Sonata and its Lisztian Legacy." The Music Review 49 (August 1988): 169-89.

MacDowell's Eroica Sonata bears a strong structural resemblance to Liszt's B Minor Sonata, a resemblance underscored by similarities in pianistic writing style and by the overtly programmatic character of MacDowell's work and the strong possibility of programmatic associations with Liszt's.

Index classifications: 1800s

Petermann, Kurt. "Das Quodlibet, eine Volksliedquelle?: Studien zum Quodlibet d. 16. Jh. in Deutschland." PhD diss., University of Leipzig, 1960.

Index classifications: 1500s

Peterson, Franklin. "Quotation in Music." Monthly Musical Record 30 (October 1900): 217-19, (November 1900): 241-43, and (December 1900): 265-67.

Quotation in music is different from literary quotation. Most examples of musical quotation are accidental, but exceptions to this include self-borrowing, universally recognized excerpts, programmatic or evocative borrowing, or humorous allusions. All other conscious quotation is plagiarism. "Making a few possible exceptions where words are used, THERE IS NO QUOTATION IN MUSIC" (capitals original).

Works: Wagner: Die Meistersinger von Nürnberg (218); Beethoven: Symphony No. 5 (218), Quintet, Op. 16 (218); S. S. Wesley: Ascribe Ye Unto the Lord (218); Beethoven, Diabelli Variations (241); Reinecke: Variations for Two Pianofortes (241); Bach: Wachet auf, BWV 140 (242), Christmas Oratorio (242); Mackenzie: Dream of Jubal (242); Berlioz: Symphonie fantastique (265); Tchaikovsky: 1812 Overture (265); Volkmann: Richard the Third Overture (265); Saint-Saëns: Henry VIII (265); Wagner: Der Ring des Nibelungen (266); Beethoven: Symphony No. 9 (266); Haydn: The Seasons (266); Mozart: Don Giovanni (267).

Index classifications: General, 1700s, 1800s

Petrobelli, Pierluigi. "Elisabetta, regina d'Inghilterra: analisi delle fonti letterarie del libretto e degli autoimprestiti musicali." Tesi di Laurea, Universitá di Roma la Sapienza, 1983/84.

Index classifications: 1800s

Petty, Wayne C. "Chopin and the Ghost of Beethoven," 19th-Century Music 22 (Spring 1999): 281-99.

Beethoven's influence on Chopin has been scarcely noted, partly due to the paucity of available data on Chopin's acquaintance with Beethoven. Yet Beethoven's presence is patent in Chopin's Piano Sonata in B flat Minor, Op. 35 (1839), where he bids Beethoven farewell; it is a rite of separation in which Chopin finds his own voice. The opening of the first movement refers to the opening of Beethoven's Piano Sonata in C Minor, Op. 111, but an interrupted cadence signals a sharp departure from it. That cadence has its closure in the funeral march that alludes to the funeral march of Beethoven's Piano Sonata in A flat Major, Op. 26, and signals the end of Beethoven's presence in the sonata. From that moment on, in the contrasting, nocturnal, trio section, Chopin affirms his own voice. Whereas the first three movements project a human struggle to achieve individuality, the inventive finale takes an ironic stance to that idea.

Works: Chopin: Piano Sonata in B flat Minor, Op. 35 (283-99).

Sources: Beethoven: Piano Sonata in A flat Major, Op. 26 (285, 288-89, 294, 298), Piano Sonata in C Minor, Op. 111 (289-90, 298). (TB)

Index classifications: 1800s

Petzsch, Christoph. "Kontrafaktur und Melodietypus." Die Musikforschung 21 (July/September 1968): 271-90.

Index classifications: General, Monophony to 1300, 1300s, 1400s

Phillips, Elizabeth. "The Divisions and Sonatas of Henry Butler." Ph.D. diss., Washington University, 1982.

[Includes discussion of his divisions on grounds.]

Index classifications: 1600s

Picker, Martin. "The Cantus Firmus in Binchois' Files a marier." Journal of the American Musicological Society 18 (Summer 1965): 235-36.

Scholars have often noted the exceptional character of Binchois's Files a marier but have not realized that the melody employed by Binchois is also found in an anonymous triple chanson, Robinet se veult marier/Se tu t'en marias/Helás pourquoy. The tenor of the quodlibet chanson, Se tu t'en marias, is borrowed in Binchois's chanson and supplies the text for Binchois's part, since the only surviving source does not provide it. Based on this newfound borrowing, the composition could possibly be referred to as a double chanson, Files a marier/Se tu t'en marias, as it parodies the learned motet genre by using a popular tune as a cantus firmus.

Works: Binchois: Files a marier (235-36).

Sources: Anonymous: Robinet se veult marier/Se tu t'en marias/Helás pourquoy (235-36). (MER)

Index classifications: 1400s

Picker, Martin. Fors seulement: Thirty Compositions for Three to Five Voices or Instruments from the Fifteenth and Sixteenth Centuries. Recent Researches in the Music of the Middle Ages and Early Renaissance, 14. Madison: A-R Editions, 1981.

Index classifications: 1400s, 1500s

Picker, Martin. "A Josquin Parody by Marc Antonio Cavazzoni." Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 22 (1979): 157-59.

Though Cavazzoni's canzona for keyboard entitled Plus ne regres has been previously connected to Josquin's Plus nulz regretz, a stronger case can be made that this piece was actually based on Josquin's Plusieurs regretz. In his version, Cavazzoni preserves the opening points of imitation and overall structure of the piece, using this as a point of departure for the composition. The melodic material in the opening is ornamented but clearly recognizable. This is clearly not a mere intabulation for keyboard, but a paraphrase or parody of Josquin's work.

Works: Cavazzoni: Plus ne regres.

Sources: Josquin: Plusieurs regretz. (SW)

Index classifications: 1500s

Picker, Martin. "Newly Discovered Sources for In Minen Sin." Journal of the American Musicological Society 17 (Summer 1964): 133-43.

Busnois's version of In meinem Sin is used in a sixteenth-century painting by Antoniszoon, entitled Banquet of Seventeen Members of the Civic Guard. Busnois's treatment of the melody is in turn interesting, for it illustrates an attempt at imitative counterpoint, the technique chosen instead of the more traditional cantus firmus structure. In Meinem Sin was a popular tune, existing in many languages, and was known throughout all levels of society.

Works: Anonymous: Bien soiez venu/Alleluya a mi faul canter (double chanson) (138-42); Gombert: Alleluya my fault chanter (1529) (142); Mathias Greiter: In meinem Sinn mir gefällt (143). (MM)

Index classifications: 1500s

Picker, Martin. "Polyphonic Settings c. 1500 of the Flemish Tune, In minen sin." Journal of the American Musicological Society 12 (Spring 1959): 94-95.

The tune In meinem Sin and a second French version entitled Entre je suis en grant pensee are shown to serve as the melody for thirteen polyphonic compositions of the late fifteenth and early sixteenth centuries. The similarities between the versions are discussed, as are the methods of their incorporation into the various compositions. In particular, Josquin's setting illustrates his preeminence among his contemporaries.

Works: Busnois: In myne zynn; Agricola: In minen sin; Isaac: In meinem sinn; Finck: In meinem sinn; Greiter: In mijnen sinn; Anonymous: In mynem zin; Schnellinger: Quodlibet; Josquin: Entre suis en grant pensee, Entre je suis; Prioris: Par vous je suis. (MM)

Index classifications: 1400s, 1500s

Pimat, Manfred. "Beweisprobleme der (angeblich) unbewußten Entlehnung in der Musik." PhD diss., University of Kiel, 2001.

Index classifications: 1900s

Pirie, Peter J. "Crippled Splendour: Elgar and Mahler." The Musical Times 97 (February 1956): 70-71.

Both Elgar and Mahler make use of march rhythms and military music (fanfares). The Finales of the two first symphonies are comparable is some respects. Elgar's Second Symphony includes a very Mahleresque passage. The end of Elgar's Falstaff is compared to the end of Mahler's Ninth Symphony. Both composers are viewed as expressing the "foreboding of terror which hangs over most of the art of the years 1900-14." (DCB)

Index classifications: 1900s

Pirie, Peter J. "Debussy and English Music." The Musical Times 108 (July 1967): 599-601.

Debussy has had different influences on different English composers. The pointillistic chords of Delius's In a Summer Garden are a French influence. Vaughan Williams's On Wenlock Edge is similar to Ravel's String Quartet, and his Pastoral Symphony will be seen as similar when placed alongside any work of Debussy's. Arnold Bax parodied Vaughan Williams in his Country Tune.

Works: Bax: Country Tune (601); Delius: In a Summer Garden (600); Vaughan Williams: On Wenlock Edge (600); Pastoral Symphony (600). (RCL)

Index classifications: 1900s

Pirrotta, Nino. "Una arcaica descrizione trecentesca del madrigale." In Festschrift Heinrich Bessler, ed. Institut für Musikwissenschaft der Karl-Marx-Universität, 155-61. Leipzig: VEB Deutscher Verlag für Musik, 1961.

Index classifications: 1300s

Pirrotta, Nino. "Consideriazione sui primi esempi di Missa parodia." In Atti del [I] congresso internazionale di musica sacra / Rome 25-30 May 1950 / Pontificio istituto di musica sacra; comissione di musica sacra per l'Anno santo, ed. Higini Anglès, 315-318. Tournai: Desclée, 1952.

Index classifications: 1500s

Pirrotta, Nino. "Ricercari e variazioni su 'O Rosa bella.'" Studi musicali 1 (1972): 59-77.

Index classifications: 1400s

Pisani, Michael V. "'I'm an Indian Too': Creating Native American Identities in Nineteenth- and Early Twentieth-Century Music." In The Exotic in Western Music, ed. Jonathan Bellmann, 218-57. Boston: Northeastern University Press, 1998.

Index classifications: 1800s, 1900s

Pisk, Paul. "Das Parodieverfahren in den Messen von Jacobus Gallus." Studien zur Musikwissenschaft 5 (1918): 35-48.

Index classifications: 1500s

Plamenac, Dragan. "La Chanson de L'Homme armé et le manuscrit VI E 40 de la Bibliothèque Nationale de Naples." Annales de la fédération archéologique et historique de Belgique, Congres jubilaire 25 (1925): 229-30.

Index classifications: 1400s

Plamenac, Dragan. "Faventina." In Liber Amicorum Charles van den Borren, ed. Albert Vander Linden, 145-64. Anvers: Imprimerie Lloyd Anversois, 1964.

Index classifications: 1300s, 1400s

Plamenac, Dragan. "A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville." The Musical Quarterly 37 (October 1951): 501-42, 38 (January 1952): 85-117, and 38 (April 1952): 245-77.

Index classifications: 1400s, 1500s

Plamenac, Dragan. "The Two-Part Quodlibets in the Seville Chansonnier." In Commonwealth of Music, in Honor of Curt Sachs, ed. Gustave Reese and Rose Brandel, 163-81. New York: Free Press, 1965.

Index classifications:

Plamenac, Dragan. "Zur 'L'homme armé' Frage." Zeitschrift für Musikwissenschaft 11 (1928-29): 376-83.

Index classifications: 1400s

Planchart, Alejandro Enrique. "Fifteenth-century Masses: Notes on Performance and Chronology." Studi musicali 10 (1981): 376-83.

Although Craig Wright, Frank D'Accone, and Albert Seay have recently hypothesized an a cappella performance practice of liturgical and ceremonial music in the fifteenth century, borrowed tenors often pose problems for the application of this practice. In the final Kyrie of Dufay's Missa Se la face ay pale, one source has the incipit "tant je me deduis," a phrase that does not occur in the ballade and would probably not have been sung during the performance. In the tenor of Dufay's Missa L'homme armé, the canonic and retrograde version of the cantus firmus in the Agnus Dei makes it much more probable that the part was played by the organ or trumpet or vocalized without any text. Ockeghem's Missa L'homme armé also presents a problem because of his transposition of the cantus firmus by means of canons, creating a range of two octaves and a second throughout the Mass. Likewise, Obrecht's Missa Caput uses shifts in the pitch level of the cantus firmus. In these situations, an organ would have been the only instrument able to accommodate such a wide range. Another group of masses indicate the borrowed text in the tenor while the Mass text is present in the other voices, for example Dufay's Missa Ecce ancilla domini and Missa Ave regina caelorum, and Regis's Missa L'homme armé, Missa Haec dies quam fecit dominus, and Missa Pax vobis ego sum. Finally, English scribal traditions suggest the performance of the tenor either by the organ or by the voice singing the mass text.

Works: Dufay: Missa Se la face ay pale (5-8), Missa L'homme armé (5-8), Missa Ecce ancilla domini (18-19), Missa Ave regina caelorum (18-19); Ockeghem: Missa L'homme armé (9-12), Missa Caput (20); Obrecht: Missa Caput (13-17); Regis: Missa L'homme armé (19), Missa Haec dies quam fecit dominus (19), Missa Pax vobis (19); Anonymous: Missa Caput (20-23). (MER)

Index classifications: 1400s

Planchart, Alejandro Enrique. "The Origins and Early History of L'homme armé." The Journal of Musicology 20 (Summer 2003): 305-57.

Index classifications: 1400s

Planchart, Alejandro Enrique. "Parts with Words and without Words: The Evidence for Multiple Texts in Fifteenth-Century Masses." In Studies in the Performance of Late Mediaeval Music, ed. Stanley Boorman, 227-51. Cambridge: Cambridge University Press, 1983.

Index classifications: 1400s

Plank, Steven E. "Mendelssohn and Bach: Some New Light on an Old Partnership." American Choral Review 32 (Winter/Spring 1990): 23-28.

The "Es ist genug" aria from Mendelssohn's Elijah uses the aria "Es ist vollbracht" from J. S. Bach's St. John Passion as a model. The model was likely chosen because of their similar dramatic purposes: Mendelssohn's aria contains Elijah's desperate plea to God for an end to his life, and "Es ist vollbracht" depicts Jesus' emotions while dying on the cross. Mendelssohn also borrowed Bach's structural scheme, applying stark contrasts between the lamentational A section and the vigorous B section. Also in the shadow of "Es ist vollbracht," "Es ist genug" contains obbligato writing for low strings. In a more specific sense, both arias use a prominent descending sixth in the opening statement, and both statements are followed by a diminished seventh chord on the downbeat. The similarities not only illustrate Mendelssohn's indebtedness to Bach, but Mendelssohn's implication of the theological commonalities between Elijah and the St. John Passion.

Works: Mendelssohn: Elijah (24-26).

Sources: Bach: St. John Passion (24-26). (EU)

Index classifications: 1800s

Plasketes, George. "Cross Cultural Sessions: World Music Missionaries in American Popular Music." Studies in Popular Culture 18, no. 1 (October 1995): 49-61.

While the popularity of "World Music" is growing, many have criticized collaborations between Western and non-Western artists, such as Paul Simon's Graceland, as being exploitive of non-Western traditional music. However, these cross-cultural germinations actually serve as cultural bridges leading to greater levels of understanding. In the 1960s and 1970s many Western artists, particularly jazz musicians, attempted to achieve a synthesis between Western musical traditions and the music of Eastern, African, and South American cultures. By the late 1980s "World Music" was a staple of the record store, and artists such as Peter Gabriel, David Byrne, and Paul Simon were incorporating elements of non-Western music into their work. More recently, artists like Ry Cooder, Henry Kaiser, and David Lindley have sought out collaborations with non-Western musicians to create a blending of disparate music traditions. Cooder's A Meeting by the River blends elements and performance techniques of Hindustani music with the American musical idiom of Delta blues, and his Talking Timbuktu seeks to blend Delta blues with traditional West African music. Kaiser and Lindley traveled to Madagascar and Norway to create albums steeped in these traditions. Rather than being thought of as appropriations, the work of Cooder, Kaiser, and Lindley should be seen as collaborations that attempt to preserve the integrity of non-Western sources while blending them with distinctly Western idioms. (SLF)

Index classifications: 1900s, Popular

Plasketes, George M. "The King Is Gone but Not Forgotten: Songs Responding to the Life, Death and Myth of Elvis Presley in the 1980s." Studies in Popular Culture 12, no. 1 (1988): 58-74.

In the 1980s, over one thousand songs have been written about Elvis Presley as an act of homage, parody, critique, commentary or interpretation, all of which use quotations from, references to, or imitations of his songs. These songs can be classified into four broad categories: deification, vilification, iconization, and demythification. The category of deification includes songs that juxtapose imagery of God or Jesus Christ with imagery associated with Elvis. The second category, vilification, includes songs that comment musically or lyrically on feeling betrayed by Elvis's drug use and subsequent demise. Iconization involves the stories, souvenirs, and songs of Elvis becoming associated as glorified, sacred, and permanent icons. Demythification involves songs and other media that comment on the commercialization of Elvis or counter popular Elvis myths.

Works: Paul Simon: Graceland (59, 62); Wall of Voodoo: Elvis Brought Dora a Cadillac (60); Mr. Bonus (Peter Holsapple): Elvis What Happened? (60, 65); Beatmistress/Diego [Death Ride]: Elvis Christ (60); Adrenalin O.D.: Velvet Elvis (60); Dead Milkmen: Going to Graceland (60, 70); Vandals: Elvis Decanter (61, 67); Mojo Nixon and Skip Roper: Elvis is Everywhere (61), Twilights Last Gleaming (61); Frank Zappa: Elvis Has Just Left the Building (61); Warren Zevon: Jesus Mentioned (61-62); Billy Joel: Allentown (62-63); John Hiatt: Riding with the King (62); John Fogarty: Big Train (From Memphis) (63); Elvis Costello: Brilliant Mistake (64); Robbie Robertson: American Roulette (64); Paul Westerberg [The Replacements]: Bastards of Young (64); Bono (Paul Hewson) and U2: Elvis Presley and America (64); Neil Young: My My, Hey Hey (Out of the Blue) (65); Bruce Springsteen: Johnny Bye Bye (66); Chris Barrows and Dorsey Martin [Pink Lincolns]: Velvet Elvis (67); Scott Kempner: Listening to Elvis as performed by Syd Straw (68); Exene Cervenka and John Doe [X]: Back 2 the Base (68); Forgotten Rebels: Elvis is Dead (69); Pink Slip Daddy: Elvis Zombie (70); Sons of Ishmael: Elvis Incorporated (70); Elvis Hitler: Disgraceland (70); Peter Holsapple [dB]: Rendezvous (70).

Sources: Chuck Berry: Bye Bye Johnny (66); Otis Blackwell: Don't Be Cruel as performed by Elvis Prelsey (68); Lou Handman and Roy Turk: Are You Lonesome Tonight? as performed by Elvis Prelsey (68); Paul Simon: Graceland (70). (VLM)

Index classifications: 1900s, Popular

Plasketes, George. "The Long Ryder: From Studio Sessions and Solo Artist to Score and Soundtrack Specialist: Ry Cooder's Musicological Quest." Popular Music and Society 22, no. 2 (Summer 1998): 49-65.

Ry Cooder's apprenticeship as a soundtrack specialist began in the 1960s in Southern California, where he was active in the blues and folk circles. Known primarily as a recording artist, Cooder is particularly adept at providing atmosphere for rural, Southwest, and Deep South settings; the three-inch, sawed-off sherry bottle neck he uses on slide guitar provides a rich tone that evokes the scorching heat and background dust of the American south. His music has been borrowed for several films depicting the rural South, and Cooder himself has compiled soundtracks for various feature length films and documentaries. Cooder's music first appeared in Blue Collar, directed by Paul Schrader, which borrowed Cooder's blues-based "Hard Working Man" in 1978 to depict auto workers' struggles with management and their unions. Later that year Cooder's 1970 song "Available Space" was used in Goin' South, directed by Jack Nicholson. Cocktail features Cooder's cover of "All Shook Up," and Steel Magnolias borrows Cooder's "I Got Mine" and Hank Williams's "Jambalaya" to convey a Cajun culture. Roger Donaldson's Cadillac Man makes use of Cooder's "The Tattler," as well as The Bee Gees's "Stayin' Alive," and Percy Mayfield's "Hit the Road Jack" to underscore Robin Williams's character's redemption.

Works: Jack Nitzsche and Ry Cooder: score to Blue Collar (57); Roger Donaldson: score to Goin' South (57); J. Peter Robinson, Jim Weidman, et al.: score to Cocktail (60); Georges Delerue: score to Steel Magnolias (61).

Sources: Ry Cooder: Hard Working Man (57), Available Space (57); Traditional: I Got Mine as performed by Ry Cooder (61); Ry Cooder: The Tattler (61); Hank Williams: Jambalaya (61); Otis Blackwell: All Shook Up as performed by Ry Cooder (60); Barry Gibb, Maurice Gibb, and Barry Gibb: Stayin' Alive (61); Percy Mayfield: Hit the Road Jack (61). (KEW)

Index classifications: 1900s, Film

Platen, Emil. "Eine Pergolesi-Bearbeitung Bachs." Bach-Jahrbuch 48 (1961): 35-51.

Index classifications: 1700s

Plath, Wolfgang. "Zur Echtheitsfrage bei Mozart." In Mozart Jahrbuch 1971/72, 19-36. Salzburg: Internationale Stiftung Mozarteum, 1973.

The horn part of the second movement of Mozart's Horn Concerto in E-flat, K. 447, is essentially identical to that of Michael Haydn's Romance for horn and string quartet of 1795. As an alternative to Mary Rasmussen's explanation, Plath suggests that a horn player, who possessed only the horn part of the second movement of Mozart's concerto, prevailed upon Haydn to write an accompaniment. (RLS)

Index classifications: 1700s

Platoff, John. "Music and Drama in the opera buffa Finale: Mozart and his Contemporaries in Vienna, 1781-1790." Ph.D. diss., University of Pennsylvania, 1984.

Index classifications: 1700s

Plumley, Yolanda. "Citation and Allusion in the Late Ars nova: The Case of Esperance and the En attendant Songs." Early Music History 18 (1999): 287-363.

Musical citation and "grafting" in the late-fourteenth-century Ars subtilior chanson was much more prevalent than is currently believed. At that time, citation was viewed as an opportunity for composers to display their musical and intellectual erudition. A case study of three Ars subtilior chansons beginning with the words "En attendant" by Jacob de Senleches, Philippus de Caserta and Johannes Galiot demonstrates this point in a clear juxtaposition of the Ars subtilior chansons with the Ars nova work Esperance qui en mon cuer s'embat, which serves as a musical and textual source for all three chansons. The common musical material from which all three composers draw brings about a phenomenon of interrelated musical borrowing, which could have been caused by a collaborative compositional process for a common political or religious event relating to the Visconti and Valois families during the politic turmoil of the late fourteenth century. These works also fit into a larger spectrum of songs in French mainstream culture and were clearly products of a circle of composers who knew each other and communicated with each other about their work. In this context, points of musical allusion or citation were evident only in careful observation within a web of intertextual references. Thus, the practice of musical citation and allusion still flourished in the late fourteenth century, playing an important role in the works of Ars subtilior composers in a much more subtle way than previously thought by current scholars.

Works: Johannes Galiot: En attendant la douce vie (289-334); Jacob de Senleches: En attendant, Esperance conforte (289-334); Philippus de Caserta: En atendant souffrir m'estuet grief payne (289-334, 337-46).

Sources: Anonymous: Esperance qui en mon cuer s'embat (293-334, 346-63); Machaut: En amer a douce vie (294-334). (EE)

Index classifications: 1300s

Plumley, Yolanda. "Intertextuality in the Fourteenth-Century Chanson." Music and Letters 84 (August 2003): 355-77.

The practice of intertextual citation and allusion in lyric poetry during the fourteenth century is also apparent both musically and textually in the Ars Nova chanson repertory. Examination of these songs provides new evidence that the practice of citation and allusion was more widespread, more developed, and more varied in its function than previously argued by scholars such as Ursula Günther. Furthermore, looking at cases of borrowing from this period allows one to consider contemporary significance and meaning of works, contacts between composers, and transmission of works. Uses of pre-existing music are noticeable in Mauchaut's Pour ce que tous mes chans fais, where he borrows the opening of the chace Se je chant as a way of conveying ironic humor. In the following Ars Subtilior generation, composers often quoted Machaut's lyrics or made references to his poems in their works. For example, Matteo da Perugia cited both text and music from Machaut's De Fortune in Se je me plaing de Fortune, calling upon a previous authority and developing the model for his own purposes. Subtle musical connections in interrelated works between composers (such as the En attendant songs of Galiot, Senleches, and Philipoctus de Caserta, which all cite the anonymous Esperance qui en mon cuer s'embat) suggest citation games or contests. These examples demonstrate a variety of borrowing methods within the music, creating a web of connections that the audience would have recognized and appreciated.

Works: Machaut: Se je me pleing, je n'en puis mais (Ballade 15) (361), Pour ce que tous mes chans fais (Ballade 12) (363-64); Matteo da Perugia: Se je me plaing de Fortune (365-69); Galiot: En attendant d'amer la douce vie (370); Senleches: En attendant, Esperance conforte (370); Philipoctus de Caserta: En atendant souffrir m'estuet (370); Matheus de Sancto Johanne: Je chant ung chant (371-73); Trebor: Passerose de beauté (374-77).

Sources: Machaut: Se je chant (363-64), De Fortune me doy pleindre et loer (Ballade 23) (365-69); Anonymous, Esperance qui en mon cuer s'embat (370); Philipoctus de Caserta: En attendant souffrir m'estuet (370); Jean Haucourt: Se j'estoye aseürée (371-73); Egidius: Roses et lis (374-77). (MER/KRA/HJK)

Index classifications: 1300s

Pohlmann, Hansjörg. Die Frühgeschichte des musikalischen Urheberrechts (ca. 1400-1800): Neue Materialen zur Entwicklung des Urheberrechtsbewusstseins der Komponisten. Kassel: Bärenreiter, 1962.

Index classifications: General

Poland, Jeffrey T. "Michael Haydn and Mozart: Two Requiem Settings." American Choral Review 29, no. 1 (Winter 1987): 3-14.

Haydn's Requiem in C Minor shares numerous similarities with Mozart's Requiem, in instrumentation, choral and instrumental textures, placement of solo sections, specific features of style and technique, movement structure, tonal design and cadential progressions, and rhythmic patterns of text setting. The similarities between the works decrease significantly in those sections completed or composed by Süssmayer. (RLS)

Index classifications: 1700s

Polnauer, Joseph. "Paralipomena zu Berg und Webern." Österreichische Musikzeitschrift 24 (May/June 1969): 292-96.

In the first of two sections, Polnauer traces the alteration of a four-note motive through the second act of Wozzeck, arriving at a motive from Bruckner's D Minor Mass, which Polnauer claims is a clear quotation. Berg was a lifelong lover of Bruckner's music, quoting here from a religious work of Bruckner's for the Bible scene of Wozzeck. Also mentioned is the use of a folksong in Berg's Violin Concerto. (MM)

Index classifications: 1900s

Pontio, Pietro. Ragionamento di musica. Parma, 1588. Facsimile ed. Suzanne Clercx. Documenta musicologica 1st series, Druckschriften-Faksimiles, 16. Kassel: Bärenreiter, 1959.

Index classifications: 1500s

Poole, Elissa. "The Brunetes and Their Sources: A Study of the Transition from Modality to Tonality in France." Recherches sur la musique Français Classique 25 (1985): 187-206.

Three collections of Brunettes (mostly songs about shepherdesses with brown hair) from the press of Christophe Ballard in 1703, 1704, and 1711 show the transition from modal to tonal systems of composition in France. Ballard's pieces were assembled from popular airs serieux, airs à danser, and chansonettes from the previous century. Ballard brought them up to date by simplifying melodies, altering texts, and composing bass lines for the songs. In composing bass lines for the once monophonic chansons à danser and creating new bass lines for the rest of the polyphonic pieces, he adjusted modal organizations that had become outdated. Too this end, accidentals were changed, and cadences and their preparations were altered as well. Individual modes were turned into major or minor systems, each in its own unique way. By comparing both versions, we can see what Ballard considered to be essential modernizations. These Brunettes then served as the basis for further revisions by composers Dandrieu and Montéclair later in the century. Thus several versions of the same song can be examined over a large span of time.

Works: Anonymous: J'entends le voix de la belle Climene (191); La jeune Bergere Anette (192); Nous nirons plus aux champs Brunete (195); L'amour n'est jamais sans peines (197); Dans un Bois (200); Quand on a tant d'amour (202); O beau jardin ou l'Art et Nature (205). (JFA)

Index classifications: 1700s

Poole, Elissa. "The Sources for Christophe Ballard's Brunetes ou petits airs tendres and the Tradition of Seventeenth-Century French Song." Ph.D. diss., University of Victoria, 1985.

Index classifications: 1600s

Porcello, Thomas. "The Ethics of Digital Audio-Sampling: Engineers' Discourse." Popular Music 10 (January 1991): 69-84.

The ability of the digital sampler to mimic, reproduce, extract, and manipulate musical material has led to substantial discourse in issues of intellectual property and fair use. A series of interviews with studio engineers reveals a general, broad consensus regarding various aspects of sampling, such as payment to musicians, legal issues, and the threat to studio musicians, despite the disagreements about pragmatic aspects of actual use of sampling technology. The engineers interviewed all agreed that certain uses of sampling, such as the wholesale lifting of an entire phrase common in rap songs, are unethical and that sampling should not be "a technological free-for-all." Largely, the controversy centers around the question first raised by the Dadaist movement: can one actually own a sound? Where does one make the distinction between the material of a work and the work as a created, artistic whole? These questions have become even more difficult to answer after Foucault, who views all categories of authorship as spurious. Each engineer cited a "code of the West" that has evolved in the recording industry through general consensus, explaining that controversy occurs when someone is found to violate this unwritten code. Furthermore, since there is money to be made and saved though the use of digital sampling, its use ultimately serves to reinforce the asymmetrical power balance of the recording industry. (SLF)

Index classifications: 1900s, Popular

Porter, Andrew. "Musical Events: Something Borrowed, Something New." The New Yorker, 18 November 1983, 186.

Index classifications: 1900s

Porter, David H. "The Structure of Beethoven's Diabelli Variations Op. 120." The Music Review 31 (November 1970): 295-97.

Index classifications: 1800s

Poulenc, Francis and Stéphane Audel. My Friends and Myself. Translated by James Harding. London: Dennis Dobson, 1978.

The lives and works of Poulenc and his friends were enriched through close contact between artists, poets, and musicians. Satie's music, especially Parade, fertilized that of Stravinsky. Falla rediscovered Spain in music through Debussy (whose "Soirée dans Grenade" from Estampes he quoted) and Pedrell (whose volumes of folk music influenced him).

Works: Falla: El amor brujo (90), El retablo de Maese Pedro (90), Homenaje, for guitar (92); Stravinsky: Sonata for Two Pianos (67). (CMC)

Index classifications: 1900s

Poulenc, Francis. Diary of My Songs. Translated by Winifred Radford. London: Victor Gollancz, 1985.

Poulenc's songs should be performed according to the instructions given in this diary. In composing them he was influenced by Liszt, Mussorgsky, Stravinsky, and Edith Piaf. He borrowed melodies from Mussorgsky, the lied-chanson style from Edith Piaf, and the tempo and harmonic progression from Stravinsky's Serenade in A for piano. From his own earlier works he borrowed themes, key, tempo, orchestration, and harmonic style.

Works: Poulenc: Tel jour, telle nuit (35), La Grenouillière (51), Chansons villageoises (71), Le Disparu (85), La Fraicheur et le feu (99), Dialogues des Carmelites (101), Nuage (107). (CMC)

Index classifications: 1900s

Poulenc, Francis. Emmanuel Chabrier. Paris: R. Julliard, 1954.

The neglected master Chabrier represents what is best in French music since 1880. His music foreshadowed innovations of the twentieth century and influenced musicians such as Ravel, Debussy, Stravinsky, and Poulenc himself. Specific examples of musical borrowing from Chabrier show use of themes, prosody, and harmonies. His orchestration influenced Debussy and Ravel. Chabrier also borrowed from others (Offenbach and Wagner) and from himself.

Works: Chabrier: Briseis (28), Donnez-vous la peine de vous asseoir (30), Gwendoline (28), Souvenir de Munich (56); Debussy: Pelléas et Mélisande (50); Satie: Sarabandes (55); Ravel: A la manière de Chabrier (27). (CMC)

Index classifications: 1800s, 1900s

Poulenc, Francis. Entretiens avec Claude Rostand. Paris: R. Julliard, 1954.

For Francis Poulenc, his compositions were like offspring whose different characters owed much to his varied experiences and influences. One important aspect of their character was the musical borrowing they contained. Poulenc quoted folk songs and military bugle calls and modeled pieces on compositions by Tchaikovsky, Mozart, Haydn, and Saint-Saëns. He used musical borrowing to proffer friendship, to make political statements, and as a form of emulation.

Works: Poulenc: Les Biches (55), Les Animaux modèles (58-59), Concert champêtre (78), Concerto for Two Pianos and Orchestra (83), Concerto for Piano (133), Les Mamelles de Tirésias (101), Stabat Mater (101), Trio for Piano, Oboe, and Bassoon (121). (CMC)

Index classifications: 1900s

Powell, John S. "The Opera Parodies of Florent Carton Dancourt." Cambridge Opera Journal 13 (July 2001): 87-114.

Index classifications: 1600s

Powell, Linton. "Organ Works Based on the Spanish Pange Lingua." The American Organist 31, no. 7 (July 1997): 66-70.

The Spanish Pange lingua in Mode V known only on the Iberian peninsula has been set repeatedly by Spanish keyboard composers, revealing the change of styles and techniques over three centuries. Early settings of the hymn, including ten by Antonio de Cabezón, range from ornamented intabulations to works written in an idiomatic instrumental style. Seventeenth-century settings by Manuel Rodrigues Coelho and Sebastián Aguilera de Heredia often use a three-part texture with a slow-moving melody surrounded by faster figuration. The sixty settings by Juan Cabanilles vary from pieces using simple rhythmic motives to more complex pieces with dense imitation. In a tiento by Cabanilles, the hymn tune begins buried in the tenor before it migrates to the other voices, gradually exposing the basis of the composition. In a setting by Vincente Rodríguez, the lower voices are registered separately on the organ to oppose the treble parts. A more fugal treatment of the hymn can be seen in José Lidón's setting from the eighteenth century, where motives derived from the hymn are developed as subjects of a large fugue. Although the use of the hymn declined by the nineteenth century, pianistic settings by Hilarión Eslava and Nicolás Ledsma are found in an anthology of organ music from 1854. The short survey of keyboard settings of the hymn shows a wide spectrum of styles: intabulations in ricercar style, divided-register pieces, sophisticated fugues, and nineteenth-century pianistic styles.

Works: Cabezón: Pange lingua (67); Heredia: La reina de los Pange linguas (68); Cabanilles: Tiento de Pange lingua (68); Rodríguez: Pange lingua de mano izquierda (68); Lidón: Fuga sobre el Pange lingua (69).

Sources: Pange lingua from the Liber Processionarius Regularis Observantiae Ordinis Cisterciensis, 1569 (66). (JSB)

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

Powers, Harold S. "Il Serse transformato - I." The Musical Quarterly 47 (October 1961): 481-92. "Il Serse transformato - II." The Musical Quarterly 48 (January 1962): 73-92.

Index classifications: 1700s

Powrie, Phil, and Robynn Stilwell, eds. Changing Tunes: The Use of Pre-existing Music in Film. Aldershot: Ashgate, 2006.

See abstracts for individual chapters by Claudia Gorbman, Mike Cormack, Lars Franke, Ann Davies, Jeongwon Joe, Kristi A. Brown, Vanessa Knights, Raymond Knapp, Ronald Rodman, Phil Powrie, Robynn Stilwell, and Timothy Warner. (KRA)

Index classifications: 1900s, 2000s, Film

Powrie, Phil. "The Fabulous Destiny of the Accordion in French Cinema." In Changing Tunes: The Use of Pre-existing Music in Film, ed. Phil Powrie and Robynn Stilwell, 137-51. Aldershot: Ashgate, 2006.

The accordion in French cinema is a marker both of the past (including utopian longings for it) and of Frenchness. Three periods of French films that use accordion music exist, and Yann Tiersen's award-winning score for Le Fabuleux destin d'Amélie Poulain (Amélie), composed mostly of music from Tiersen's own pre-existing albums, offers a glimpse at a possible future period. While Amélie was criticized as a film for presenting a sanitized version of the area in France it depicts, Tiersen's music works against the clean-cut culture. The soundtrack establishes an imaginary sonic architecture built from melancholic retrospection through layers of Tiersen's minimalistic, pre-existing music. The use of Tiersen's accordion music rather than traditional tunes avoids citation of stereotyped music and allows accordion music to be reinvigorated.

Works: Jean-Pierre Jeunet (director), Yann Tiersen (composer): Sound track to Le Fabuleux destin d'Amélie Poulain (Amélie) (146-51).

Sources: Yann Tiersen: La Valse des monstres (146), La Rue des cascades (146), Le Phare (146), L'Absente (147). (KRA)

Index classifications: 1900s, 2000s, Film

Price, Curtis. "Unity, Originality, and the London Pasticcio." Harvard Library Bulletin n.s. 2 (Winter 1991): 17-30.

To properly understand London pasticcios of the eighteenth century, the genre must not be compared to the nineteenth-century ideal of opera, but must be considered in light of what was practiced and performed in eighteenth-century London. To showcase the talents of the performers and reflect the tastes of the audience, theatrical and pasticcio performances usually presented an amalgamation of materials. As the eighteenth century progressed, pasticcios became increasingly important, occasionally serving as venues for experiments and innovation. For example, Ferdinando Bertoni's Giunio Bruto (1782) defied pasticcio conventions by concluding with a secco recitative. Pasticcios could also significantly alter a model. Samuel Arnold's Giulio Cesare (1787) both reduced the musical material of Handel's original Giulio Cesare (1724) and inserted popular numbers from several of Handel's other operas. Until the later part of the eighteenth century, performers had the legal ability to perform substitute arias in a pasticcio. As the century continued, a power struggle erupted between copyists and singers, culminating in two legal battles. The courts ultimately sustained the rights of the performer to introduce arias in an opera, regardless of whether the aria was newly composed or borrowed the work of another composer.

Works: Samuel Arnold: Giulio Cesare in Egitto (22-24); Paisiello: Il re Teodoro in Venezia (25-27); Vincenzo Federici: L'usurpator innocente (27); Gertrude Elisabeth Mara: "Anche nel petto io sento" (27-30).

Sources: Handel: Guilio Cesare (22-24); Steven Storace: "Care donne che bramate" (25-27); Paisiello: La Molinarella (27-30). (LBD)

Index classifications: 1700s

Pritchard, Brian W. "Mendelssohn's Chorale Cantatas: An Appraisal." The Musical Quarterly 62 (1976): 1-24.

Index classifications: 1800s

Prout, E. "Handel's Obligations to Stradella." The Monthly Musical Record 1 (1871): 154-000.

Index classifications: 1700s

Pruett, Lilian Pibernik. "Parody Technique in the Masses of Constanza Porta." In Studies in Musicology: Essays in the History, Style, and Bibliography of Music in Memory of Glen Haydon, ed. James W. Pruett, 211-28. Chapel Hill: University of North Carolina Press, 1969.

Of the fifteen known Masses by Porta, six are freely composed, six are cantus firmus Masses, and three are parody Masses. It is possible that some of the freely composed Masses are parodies of unidentified models. Following a comparison between Palestrina's and Porta's borrowing techniques, five of Porta's parody Masses are presented in detail: Missa Secundi toni, based on Palestrina's madrigal "Vestiv' i colli"; Missa Tertii toni, on Rore's madrigal "Com' havran fin le dolorose tempre"; Missa Descendit angelus, on a motet by Hilaire Penet; Missa Quemadmodum, on an unidentified model; and Missa Audi filia, on a five-voice motet by Gombert. The essence of Porta's borrowing technique lies in extraction of motives from the model; literal use of the borrowed motives, most frequently in the bass; modification of the motives by melodic and rhythmic alteration, telescoping, and fragmentation; imitation in all or some voices; and simultaneous exploitation of all the voices of the model.

Works: Porta: Missa Secundi toni (214-16), Missa Tertii toni (214, 216-17), Missa Audi filia (217-20, 225), Missa Descendit angelus (912-25), Missa Quemadmodum (225-26, 228). (AC)

Index classifications: 1500s

Pruslin, Stephen. "Maxwell Davies's Second Taverner Fantasia." Tempo, no. 73 (Summer 1965): 2-11.

Peter Maxwell Davies's instrumental piece Second Fantasia on John Taverner's In Nomine demonstrates the ways in which Davies and Mahler think alike. In works of both composers, the borrowed material, which is the surface of the work, contradicts the full meaning of the work. Only in context with the rest of the piece can the significance of the borrowing be understood, and this technique creates an irony associated with the borrowing. Davies often passes the borrowed idea through filters, rendering it changed, even grotesque. In the Fantasia, Davies borrows Taverner's cantus firmus and distorts it in various ways. In the first movement, for example, he states it in the oboe with reasonable clarity, but in the scherzo it is distorted through excessive vibrato by a solo violin. This is comparable to processes in Mahler's Ninth Symphony. After an extended examination of the harmonic and tonal processes to which the borrowed material is subjected, one can see Davies's ironic dual-level process at work. (JS)

Index classifications: 1900s

Pruslin, Stephen. "'One If by Land, Two If by Sea': Maxwell Davies the Symphonist." Tempo, no. 153 (June 1985): 2-6.

Over the course of his first three symphonies, Davies explores the same system of minor thirds and tritones that governs the first movement of Tchaikovsky's Fourth Symphony. While the symphonies of this "triptych" may be related to each other by this key scheme (F-Ab-B-D), they represent different compositional and aesthetic concerns of Davies. His first two symphonies, evoking respectively landscape and seascape, draw upon the aesthetics and ideals of other composers, including Sibelius, Beethoven, and Debussy. For the First Symphony, the scherzo of Sibelius's Fifth Symphony served as a model. For the more formally strict Second Symphony, Davies draws upon the harmonic and stylistic idiom of Debussy's La Mer. In each of the four movements of his Third Symphony, Davies articulates the same architectural outline, in which he borrows Renaissance spatial concepts and proportions and reworks them abstractly in time. The finale of this symphony, as with the slow final movement of the First Symphony, represents a response to the Mahler symphonic tradition. (DBO)

Index classifications: 1900s

Pruslin, Stephen. "Returns and Departures: Recent Maxwell Davies." Tempo, no. 113 (June 1975): 22-28.

The formal and spiritual continuity of Davies's style is demonstrated through examination of two works, Worldes Blis and Stone Litany, in relation to their earlier counterparts, Taverner 2 and Revelation and Fall. Worldes Blis, which is based upon the same In Nomine setting by Taverner as Taverner 2, parallels the surface form of Taverner 2 to its halfway point and then "masks" the material from the second half. Discussed in terms of emotional content, Stone Litany provides a cold, hard look at the same image discussed by Revelation and Fall. (AW)

Index classifications: 1900s

Puffett, Derrick. "Webern's Wrong Key-Signature." Tempo, no. 199 (January 1997): 21-26.

Closer scrutiny of the lieder of Anton Webern can reveal the influence of Hugo Wolf. This is true not only of style, but also in the borrowing of actual musical content. This can be pitch specific, for example in "Aufblick," Webern uses a notational "perversion" of B flat-B double flat-A flat, which is identical to Wolf in "Lebe wohl," or they can be less referential, such as an ascending third followed by a descending semitone in Wolf's "Frage und Antwort." Another borrowing type includes specific chromatic chord progressions as in Webern's "Heimgang in der Frühe" and Wolf's "Das verlassene Mägdlein." Wolf's influence on Webern is widely known, which only affirms the possibility of borrowing from the elder composer. This is further strengthened by the fact that all references to Wolf's lieder are to those contained in the Mörike-Liederbuch.

Works: Webern: Aufblick (21, 22), Fromm (23-24), Heimgang in der Frühe (24-25), Sommerabend (25).

Sources: Wolf: Lebe wohl (21-22), Frage und Antwort (22), Gesang Weylas (23-24), Das Verlassene Mägdlein (24-25), Um Mitternacht (25). (CMH)

Index classifications: 1900s