Quereau, Quentin W. "Aspects of Palestrina's Parody Procedure." Journal of Musicology 1 (April 1982): 198-216.
A detailed discussion of Palestrina's choice of borrowed materials (the pre-compositional procedure), using his Missa Salvum me fac as an example, notes the fundamental fact of his borrowing of motives from only one model point of imitation in the model at a time, and six other factors. A detailed discussion of Palestrina's use of those materials (the compositional procedures), using his Missa Nigra sum as an example, notes the differences between model and Mass in density of texture and integration of non-motivic counterpoint. The most common and essential type of polyphonic borrowing in Palestrina's arsenal of parody procedures is his borrowing and transformation of contrapuntal relationships between motive entries.
Works: Palestrina: Missa Salvum me fac (200-10); Missa Nigra sum (211-16). (JP)
Index classifications: 1500s
Quereau, Quentin W. "Palestrina and The Motteti Del Fiore of Jacques Moderne: A Study of Borrowing Procedures in Fourteen Parody Masses." Ph.D. diss., Yale University, 1974.
Index classifications: 1500s
Quereau, Quentin W. "Sixteenth-Century Parody: An Approach to Analysis." Journal of the American Musicological Society 31 (Fall 1978): 407-41.
A system of graphs is used to facilitate a study of the relationship between a motet and a Mass that is based on it using sixteenth-century parody technique. In the graphs, relationships not immediately apparent from looking at the score become clear, such as the borrowing of the entire complex of a motive and the points of imitation that accompany it, or the relationships among points of imitation that enable them to be combined contrapuntally in a particular manner. The motet Salvum me fac by Jacquet of Mantua and the parody Mass of the motet by Palestrina serve as examples in the graphing process. (NKT)
Index classifications: General, 1500s
Raab, Hans-Heinrich. "Explosionen und Cantus, II. Sinfonie von Wilfried Krätzschmar." Musik und Gesellschaft 31 (February 1981): 73-76.
Index classifications: 1900s
Raab, Hans-Heinrich. "Zur Spezifik des Collage-Begriffs in der Musik." In 150 Jahre Musikwissenschaft an der Humbolt-Universität zu Berlin, ed. Helmut Klein, in collaboration with Günter Hellriegel, Gisela Kostow, and Gudrun Kramer, 119-21. Gesellschaft- und Sprachwissenschaftliche Reihe 24. Berlin: Redaktion Wissenschaftliche Zeitschrift der Humbolt Universität, 1980.
Index classifications: 1900s
Raad, Virginia. "Musical Quotations in Claude Debussy." The American Music Teacher 17 (January 1968): 22-23, 34. The National Association of Teachers of Singing Bulletin 24 (February 1968): 33, 39.
This article lists many works by Debussy and the sources of their quotations, but provides no musical examples or measure numbers and offers no insights into the whys and hows of Debussy's musical borrowing.
Works: Debussy: Hommage à S. Pickwick, Esq. P.P.M.P.C. (22), Feux d'artifice (22), Berceuse héroique (22), Caprices en blanc et noir (22), Pierrot (22), La terrasse des audiences au clair de lune (22), "Jardins sous la pluie" from Estampes (22), Rondes de printemps (22), "Jimbo's Lullaby" from Children's Corner (22), La boite à joujoux (22), Les cloches (23), "Gigue" from Images (23), "Golliwog's Cake Walk" from Children's Corner (23, 34), Le petit nègre (34), Marche ecossaise (34). (PRZ)
Index classifications: 1900s
Rabinowitz, Peter J. "Fictional Music: Toward a Theory of Listening." In Theories of Reading, Looking, and Listening (Bucknell Review 26, no. 1), ed. Harry R. Garvin, 193-208. Lewisburg: Bucknell University Press, 1981.
Index classifications: General, 1900s
Radcliffe, Philip. Schubert Piano Sonatas. London: British Broadcasting Corporation, 1967.
Within a general survey of Schubert's piano sonatas, the author gives an example of the composer borrowing both from one of his own previous works and from one by Beethoven (p. 48). The theme of the rondo finale of the Piano Sonata in A Major, D. 959, is taken from the central movement of Schubert's earlier Piano Sonata in A Minor, D. 537. However, the structure of the movement as a whole is closely modeled on that of the rondo in Beethoven's Piano Sonata in G Major, Op. 31, No. 1. (JSL)
Index classifications: 1800s
Radice, Mark A. "Bartók's Parodies of Beethoven: The Relationships Between opp. 131, 132 and 133 and Bartók's Sixth String Quartet and Third Piano Concerto." The Music Review 42 (August/November1981): 252-60.
Bartók's compositional model was Beethoven. Similarities between the two composers may be seen in form, contrapuntal writing, use of introductions and epilogues, and thematic and motivic material. The symmetrical structure of Bartók's Second Piano Concerto is compared to the form of Beethoven's String Quartet in C# Minor, Op. 131. The forms of the second movement of Bartók's Third Piano Concerto and the concerto as a whole are related to both the Second Piano Concerto and Op. 131. The second movement is also related to Beethoven's String Quartet in A Minor, Op. 132, where striking similarities occur in scoring, rhythm, texture, and dynamics. Beethoven's Grosse Fuge for String Quartet, Op. 133, serves as a model for Bartók's Sixth String Quartet with parallels of meter, dynamics, articulation, use of rests, and compositional procedures. It is clear that Bartók deliberately used many of Beethoven's compositional techniqes.
Works: Bartók: Piano Concerto No. 2 (254), Piano Concerto No. 3 (254-55), String Quartet No. 6 (255-59). (NS)
Index classifications: 1900s
Rajeczky, Benjamin. "Kontrafaktur in den Ordinarium-Sätzen der ungarischen Handschriften." Studia musicologica 19 (1977): 227-34.
Index classifications: Monophony to 1300
Ramalingam, Vivian S. "Berlioz, Beethoven, and 'One fatal remembrance.'" In Beyond the Moon: Festchrift Luther Dittmer, ed. Bryan Gillingham and Paul Merkley, 394-409. Musicological Studies, vol. 53. Ottawa: Intitute of Medieval Music, 1990.
Index classifications: 1800s
Ramaut, Beatrice. "Deux mises en scène d'une conscience de la tradition: Opera di Berio (1969) et Accanto de Lachenmann." Revue de musicologie 79 (1993): 109-41.
Index classifications: 1900s
Rangell, Andrew Reed. "The Violin-Piano Sonatas of Charles Ives: An Analytical Discussion." Ph.D. dissertation, The Juilliard School, 1976.
Index classifications: 1900s
Rathert, Wolfgang. Charles Ives. Erträge der Forschung, 267. Darmstadt: Wissenschaftliche Buchgesellschaft, 1989.
Index classifications: 1900s
Rathert, Wolfgang. "Charles Ives, Symphonie Nr. 4, 1911-1916." Neuland 3 (1982-83): 226-41.
Index classifications: 1900s
Rathert, Wolfgang. The Seen and Unseen: Studien zum Werk von Charles Ives. Berliner musikwissenschaftliche Arbeiten, 38. Munich: Musikverlag Emil Katzbichler, 1991.
Index classifications: 1900s
Raynaud, Gaston. Recueil de Motets Français des XIIe et XIIIe siècles. 2 vols. Paris: F. Vieweg, 1881-83; reprint, Hildesheim: Georg Olms, 1972.
Index classifications: Polyphony to 1300
Reardon, Colleen. "Two Parody Magnificats on Palestrina's Vestiva i colli." Studi musicali 15 (1986): 67-99.
Index classifications: 1500s
Rectanus, Hans. "'Ich erkenne dich, Josquin, du herrlicher...:' Bemerkungen zu thematischen Verwandtschaften zwischen Josquin, Palestrina und Pfitzner." In Renaissance-Studien: Helmuth Osthoff zum 80. Geburtstag, ed. Ludwig Finscher, 211-22. Tutzing: Hans Schneider, 1979.
In his opera Palestrina, Hans Pfitzner uses three themes from Palestrina's Missa Papae Marcelli. While two of them (from the "Kyrie" and from the "Christe") are simple quotations, the one from the "Sanctus" is developed further until it exactly represents the characteristic scale motive from Josquin's well known instrumental piece La Bernardina, which Pfitzner, however, most probably did not know. This development covers the final section of the dramatically important "inspiration scene" from Act I. Rectanus explains the correspondence with a mysterious relationship between the composers concerned, with what he calls an unio mystica or Sternenfreundschaft.
Works: Palestrina: Missa Papae Marcelli, Missa Benedicta es (212-13); Pfitzner: Palestrina; Ghiselin-Verbonnet: L'Alfonsina (216-17); Josquin: Mi Larés vous (216-17); Monteverdi: Raggi, D'ovè il mio ben (216-17). (AG)
Index classifications: 1900s
Rectanus, Hans. "Leitmotivik und Form in den musikdramatischen Werken Hans Pfitzners." Ph.D. diss., University of Frankfurt, [??]. Also published in Literarahistorisch-musikwissenschafliche Abhandlungen 18. Wurzburg: Triltisch, 1967.
Index classifications: 1900s
Redlich, Hans Ferdinand. Bruckner and Mahler. Rev. 2nd ed. London: Dent; New York: Farrar, Strauss and Cudahy, 1963.
Index classifications: 1800s, 1900s
Redlich, Hans Ferdinand. "The Creative Achievement of Gustav Mahler." The Musical Times 101 (July 1960): 418-21.
This article locates Mahler's music historically and analyzes its expression. While the incorporation of his own songs into the symphonies could function as "signposts for the intellectual appreciation of the hidden programme," the handling of deliberately trivial melodies symbolizes "experiences of despair or of heartlacerating self-irony." The parody of Frère Jacques in the First and a melody of a Viennese military cortège in the Fifth Symphony belong to the latter category.
Works: Mahler: Symphony No. 1, Symphony No. 5, Symphony No. 8. (AG)
Index classifications: 1800s, 1900s
Redlich, Hans Ferdinand. "The Significance of Britten's Operatic Style." Music Survey 2 (Spring 1950): 240-45.
Britten's operas and operatic style are considered to have developed from the models of Berg (Wozzeck), Stravinsky (Oedipus Rex), Hindemith (Das Nusch-Nuschi), Brecht-Weill (Die Dreigroschenoper), Pfitzner, Busoni, R. Strauss, and Verdi, while his eclecticism is compared to that of Monteverdi, Mozart, and Wagner. A specific example of Britten's modelling is that of a leitmotif from Albert Herring (Prelude to Act II, Scene 2), which may have been suggested by a passage from Act III of Verdi's Falstaff. Britten subjects his motif to variations, one of which serves as a model for his song Canticle I, and thus provides a link between Britten's operatic and lyrical styles.
Works: Britten: Albert Herring (241-42), Canticle I (243). (NS)
Index classifications: 1900s
Rees, Owen. "Guerrero's L'homme armé Masses and Their Models." Early Music History 12 (1992): 19-54.
Index classifications: 1500s
Reese, Gustave, and Theodore Karp. "Monophony in a Group of Renaissance Chansonniers." Journal of the American Musicological Society 5 (Spring 1952): 4-15.
An attempt to broach the controversy over the monophony of the vocal music contained in MSS f.fr. 9346 (Le Manuscrit de Bayeux) and f.fr. 12744 in the Paris Bibliothèque Nationale considers (1) the related theories of Gerold and Bukofzer that the collections do not contain monophonic chansons but are made up of parts extracted from polyphonic compositions and (2) similar research on MS 4379 and the Tournai Chansonnier. The authors provide a list of the forty-eight polyphonic sources consulted in tracking down the melodies and a chart that lists the differences for all compositions examined. The melodies of Bayeux and 12744 are not mere voice-parts extracted from polyphonic compositions; those that appear elsewhere in polyphonic settings are the pre-existent bases of these works rather than transcriptions arranged from them.
Works: Paris, Bibl. Nat. MS f.fr. 9346 (Le Manuscrit de Bayeux); Paris, Bibl. Nat. MS f.fr. 12744; Paris, Bibl. Nat. MS n.a.fr. 4379 (4, 5, 7); Tournai Chansonnier (5, 7). (JP)
Index classifications: 1400s, 1500s
Reese, Gustave. Music in the Middle Ages, with an Introduction on the Music of Ancient Times. New York: W. W. Norton, 1940.
Index classifications: Monophony to 1300, Polyphony to 1300, 1300s
Reese, Gustave. Music in the Renaissance. New York: W. W. Norton, 1954. 2nd ed., 1968.
Index classifications: 1400s, 1500s
Reif, Jo-Ann. "Music and Grammar: Imitation and Analogy in Morales and the Spanish Humanists." Early Music History 6 (1986): 227-44.
Sixteenth-century Seville was a learned, cosmopolitan city in which education focused on the subjects of the trivium, including rhetoric. Imitation of a model and transfer by analogy were important elements of rhetoric, the goal of which was to teach, persuade, and move. Juan Bermudo's five-volume treatise Declaración de instrumentos (1555) presents its theoretical remarks in the language of rhetoric, offering examples from Morales as models to be followed. Morales, in turn, praised Bermudo's treatise for showing theory and practice "coming together in consonance and proportion." Morales's own Missarum liber secundus of 1544 includes a full range of stylistic traits, with the individual masses arranged in a proper rhetorical scheme.
Works: Cristóbal de Morales: Missarum liber secundus (240-43). (FC)
Index classifications: 1500s
Reilly, Robert R. "The Recovery of Modern Music: George Rochberg in Conversation." Tempo, no. 219 (February 2002): 8-12.
In an interview, Rochberg discusses his move toward serialism after World War II and his eventual return to the tonal idiom after the death of his son in the mid-1960s. Even though he was writing in the serial tradition after World War II, his music did not sound like that of other serial composers because he kept his sight on what he called "hard Romanticism," which Rochberg defines as an unattainable romantic notion that forces the music to open to the chaos of atonality. He eventually became disillusioned with serial techniques because it was only possible to manipulate the music in one way. Rochberg could find no true cadences or musical pauses for drama and expressive purposes. Starting with Contra Mortem et Tempus, Rochberg begin moving towards tonal music with the use of collage. He finally found his compositional style in String Quartet No. 3, which is rooted in both tonality and atonality. This piece, although not using collage technique, is formed through the music of previous eras that creates a sense of looking back to understand the future.
Works: Rochberg: Contra Mortem et Tempus (10), Music for the Magic Theater (10), Caprice Variations (10), String Quartet No. 3 (10-12). (MDA)
Index classifications: 1900s
Reimann, Margarete. "Pasticcios und Parodien in norddeutschen Klaviertabulaturen." Die Musikforschung 8 (July/September 1955): 265-71.
Index classifications: 1500s, 1600s, 1700s
Reise, Jay. "Rochberg the Progressive." Perspectives of New Music 19 (Fall/Winter 1980-Spring/Summer 1981): 395-407.
Rochberg, who began as an atonal composer, has reincorporated tonality into his style as a reaction against the limitation of expression in atonal music. His Third String Quartet juxtaposes sections of atonal music with sections that strongly suggest the styles of Beethoven and Mahler, without using direct quotation. For example, the quartet's finale resembles the finale of Mahler's Ninth Symphony in hamony, mood, use of pedal point, and melodic figures to the point where one can see the two passages as belonging to the same piece. Motivic unification is used to unite historical with modern styles. Rochberg uses the styles of Beethoven and Mahler because of their expressive connotations and incorporates them into a new context. This way of using the music of the past is not reactionary, but progressive. (JS/SB)
Index classifications: 1900s
Rendall, Edward D. "The Influence of Henry Purcell on Handel, Traced in Acis and Galatea." The Musical Times 36 (May 1895): 293-296.
Handel undoubtedly turned to Purcell's works for guidance during his early years in England. Acis and Galatea, one of Handel's earliest works written for England, appears to be a manifestation of this influence. Although Handel never directly borrows from Purcell, an unmistakable likeness in feeling is present between passages of Acis and Galatea and passages from Purcell's secular works. (RVT)
Index classifications: 1700s
Renner, Hans, and Klaus Schweizer. Reclams Konzertführer Orchestermusik. Stuttgart: Reclam, 1976.
Index classifications: 1800s, 1900s
Reuter, Paul. "Music and the Reformation." In Four Hundred Years: Commemorative Essays on the Reformation of Dr. Martin Luther and Its Blessed Results, ed. W. H. T. Dau, 240-53. St. Louis: Concordia, 1917.
Characteristics of Martin Luther's quintessential chorale, Ein feste Burg, the text of which is taken from Psalm 46, suggest so strong a spirit of revolutionary heroism that several composers responded to it. In addition, many qualities of the tune suggest a folk characteristic, contributing in part to the great response the tune received. In particular, the "defiant" tones of the opening stanza evoke a "battle-song" of liberty in the face of the enemy. Many composers adapted the melody of the tune and devised new harmonies for it. A common eighteenth-century adjustment, for example, was to remove the syncopation from the tune, a tradition begun by J. S. Bach in his cantatas. Subsequent composers, including Mendelssohn and Meyerbeer, retained Bach's adaptation of the melody in their own settings.
Works: J. S. Bach: In festo Reformationis, BWV 80, Ein feste Burg, BWV 720 (248); Mendelssohn: Symphony No. 5 in D Minor, Reformation (248); Meyerbeer: Les Huguenots (248).
Sources: Luther: Ein feste Burg (247-49). (KJL)
Index classifications: 1700s, 1800s
Rexroth, Dieter. "Mahler und Schönberg." In: Gustav Mahler. Sinfonie und Wirklichkeit, ed. Otto Kolleritsch, 68-80. Graz: Universal Edition, 1977.
Index classifications: 1900s
Reynolds, Christopher A. "A Choral Symphony by Brahms?" 19th-Century Music 9 (Summer 1985): 3-26.
Despite Brahms's reputation as a composer of "absolute" music, his music incorporates motivic borrowings and extramusical ideas. The first Piano Concerto and Requiem illustrate Brahms's use of existing material and musical symbols, which were primarily derived through his interaction with Robert and Clara Schumann. A chart suggests use of these ideas in other works by Brahms, providing a point of departure for further exploration into this subject.
Works: Brahms: Piano Quartet, Op. 60 (3), Piano Concerto in D Minor, Op. 15, German Requiem, Op. 45, String Quartet No. 1 (7), Symphony No. 1 (8), Variations on a Theme by Schumann (21), Ballade, Op. 10, No. 2 (21), Piano Quartet in A Major, Op. 26 (21), Die schöne Magelone, Op. 33, No. 1 (21), Ballades (duets), Op. 75, Nos. 2 and 3 (21), Violin Cncerto, Op. 77, first movement (21), Symphony No. 3, Op. 90, first movement (21). (PRZ)
Index classifications: 1800s
Reynolds, Christopher A. "The Counterpoint of Allusion in Fifteenth-Century Masses." Journal of the American Musicological Society 45 (Summer 1992): 228-60.
It is well known that fifteenth-century composers typically used a chanson melody as a cantus firmus when writing masses. There is evidence to suggest that the added contrapuntal voices often quoted or alluded to chansons independent of the melody used in the tenor. Several cases of this appear in works by Dufay, Ockeghem, Caron, Faugues, and others. This technique allowed these composers to make multiple allusions to secular texts within a single passage, enriching the sung mass text with new layers of meaning. Since a central concern of the Italian humanists was to offer modern interpretations on religious themes by way of popular allusions, it seems that in this respect the ideals of the northern composers resonated strongly with humanism, challenging the notion that their music was purely "scholastic."
Works: Busnois: J'ay mains de biens (228-29); Anonymous: Fortune, n'as-tu point pitié (230-31, 241); Agricola: Je n'ay dueil que de vos viegna (230-31, 245); Faugues: Missa Pour l'amour d'une (233, 247); Cornago: Missa Ayo vista lo mappamundo (234, 237, 247-48); Seraphinus: Credo (234-36); Faugues: Missa Je suis en la mer (234-36); Dufay: Gloria (236-37); Faugues: Missa Le serviteur (237-38); Caron: Missa Clemens et benigna (237-39); Anonymous: Missa L'homme armé (240); Ockeghem: Missa Caput (240-41); Compère: Le renvoy d'ung cueur esgaré (240-41); Caron: Missa Sanguis sanctorum (241-43); Dufay: Missa Se la face ay pale (243-44); Ockeghem: Missa (245-46). (MSS)
Index classifications: 1400s
Reynolds, Christopher A. "Florestan Reading Fidelio." Beethoven Forum 4 (1995): 135-64.
Index classifications: 1800s
Reynolds, Christopher. Papal Patronage and the Music of St. Peter's, 1380-1513. Berkeley: University of California Press, 1995.
Index classifications: 1400s
Reynolds, Patrick Allen. "Triumph: A Paraphrase on Music from The Mask of Time by Michael Tippett." DMA document, University of Cincinnati, College-Conservatory of Music, 1997.
Index classifications: 1900s
Richardson, Neal. "Musical Borrowing in Selected Works by Peter Maxwell Davies and George Rochberg." Master's thesis, Baylor University, 1994.
During the 1960s, Peter Maxwell Davies and George Rochberg made extensive use of an integrated compositional approach characterized by the juxtaposition of existing music (especially Baroque and pre-Baroque) with newly-composed music (frequently atonal in style). Two representative works are Davies's Second Fantasia on John Taverner's In Nomine, whose pitch organization relates directly to the "In nomine" portion of the "Benedictus" from Taverner's Missa Gloria tibi Trinitas, and Rochberg's Nach Bach, which synthesizes quotations from J. S. Bach's Partita in E minor, BWV 830, with newly-composed music that borrows pitch organization and motivic, formal, and gestural characteristics from the Bach. A comparative analysis of these works and their use of existing music enriches an understanding of the complex ways that musical borrowing, such as fifteenth-century cantus firmus techniques, parody technique, quodlibet, allusion, and collage, can be manifested. (Author)
Index classifications: 1900s
Richter, Gert. "Bach- und Händelzitate in unserer neuen Musik." In Johann Sebastian Bach und Georg Friedrich Händel: zwei führende musikalische Repräsentanten der Aufklärungsepoche; Bericht über das Wissenschaftliches Kolloquium der 24. Händelfestspiele der DDR / Halle (Saale) 9-10 June 1976, ed. Walther SiegmundSchultze, 88-91. Halle: Herstellung, DFH Halle, 1976.
Index classifications: 1900s
Richter, Lukas. "Parodieverfahren im Berliner Gassenlied." Deutsches Jahrbuch der Musikwissenschaft 4 (1959): 48-81.
Index classifications: 1800s
Rienäcker, Gerd. "Zu einigen Aspekten der Bach-Rezeption im sozialistischen Musikschaffen." In Bericht über dieWissenschaftliche Konferenz zum III. Internationalen Bach -Fest der DDR / Leipzig, 19-19 September 1975, ed. Werner Felix, Winfried Hoffman, and others, 315-325. Leipzig: Deutscher Verlag für Musik, 1977.
Index classifications: 1900s
Riethmüller, Albrecht. "Franz Liszts Reminiscences de Don Juan." In Analysen: Beiträge zu einer Problemgeschichte des Komponierens. Festschrift für Hans Heinrich Eggebrecht zum 65. Geburtstag, ed. Werner Breig, Reinhold Brinkmann, and Elmar Budde, 276-91. Stuttgart: F. Steiner Verlag, 1984.
In his Fantasy on themes from Mozart's Don Giovanni, Liszt goes far beyond the potpourri. By careful selection of the melodic material, including scenes with the Commendatore ("Di rider finirai," "Ribaldo, audace," and "Tu m'invitasti a cena"), the duet "Là ci darem la mano," and Don Giovanni's aria "Fin ch'han dal vino," Liszt concentrates on only a few figures. In the transition from the duet to the final aria, he combines thematic material from music associated with the three characters, thus creating a "free symphonic development" that reinterprets the story: after the confrontation with the Commendatore, Don Giovanni triumphs over his opponent. Ten measures before the end, however, Liszt evokes once more the sphere of the Commendatore (Andante), which can be understood as an attempt to lead back cyclically to the beginning, skepticism about the positive interpretation of the ending, or both. (AG)
Index classifications: 1800s
Riezler, Walter. Hans Pfitzner und die deutsche Bühne. Munich: R. Piper, 1917. See p. 55 and 65.
Index classifications: 1900s
Riezler, Walter. Schuberts Instrumentalmusik. Zurich: Atlantis, 1967.
[See p. 151.]
Index classifications: 1800s
Rifkin, Joshua. "A Note on Schubert's Great C-Major Symphony." 19th-Century Music 6 (Summer 1982): 13-16.
Manuscripts of the first movement of Schubert's Symphony No. 9 indicate the presence of an earlier version of the principal theme. In this earlier form, the principal theme is clearly derived from Mozart's "Notte e giorno faticar" from Don Giovanni. Schubert held Don Giovanni in highest esteem and was probably reminded of the work by a performance of this opera at the time he was composing Symphony No. 9.
Works: Schubert: Symphony No. 9. (LAR)
Index classifications: 1800s
Rijavec, Andrej. "Oswald von Wolkenstein Do fraig amors als Kantate des slowenischen Komponisten Jakob Jaz aus dem Jahre 1968." In Mittelalter-Rezeption, II. Gesammelte Vorträge des 2. Salzburger Symposions. Die Rezeption des Mittelalters in Literatur, Bildender Kunst und Musik des 19. und 20. Jahrhunderts, ed Jürgen Kühnel, Hans-Dieter Mück, Ursula Müller, and Ulrich Müller, 247-60. Göppingen: Kümmerle, 1982.
Index classifications: 1900s
Rinehart, John McLain. "Ives' Compositional Idioms: An Investigation of Selected Short Compositions as Microcosms of His Musical Language." Ph.D. dissertation, The Ohio State University, 1970.
Index classifications: 1900s
Ringer, Alexander L. "The Art of the Third Guess: Beethoven to Becker to Bartók." The Musical Quarterly 52 (July 1966): 304-12.
Beethoven composed two separate sketches (Paris and Vienna) on Goethe's Erlkönig. Some aspects of these settings, such as repeated notes in the treble part, the drone in the bass, and the harmonic movement to mediant-related major keys for the middle section are remarkably similar to Schubert's Wanderer and Erlkönig. Near the end of the nineteenth century, Reinhold Becker took the transcription done by Gustav Nottebohm of the Vienna sketch as the basis for a "complete version," in an attempt at what Paul H. Lang calls "the art of the second guess." Bartók then orchestrated this arrangement in a work which was unknown to Bartók scholars until the discovery of the score at the University of Illinois Music Library. Bartók made no attempt to correct any of Becker's mistakes or changes from Beethoven's setting, except for a few harmonic changes, but his orchestration provided new sophisticated treatments of rhythm, color, and dynamics not found in the arrangement or the original.
Works: Bartók: Erlkönig (308-11); Becker: Erlkönig (307-08); Beethoven: Erlkönig. (NS)
Index classifications: 1800s, 1900s
Ringer, Alexander L. "Clementi and the Eroica." The Musical Quarterly 47 (October 1961): 454-68.
The theme of Beethoven's Contredanse in Eb Major, upon which the finale of the symphony is based and which is also present in Die Geschöpfe des Prometheus and the Piano Variations, Op. 35, has its ultimate source in the opening phrase of Clementi's Piano Sonata in G Minor, Op. 7, No. 3 (a work Beethoven probably knew in his Bonn days). Ringer also discerns the presence of the idea in the Septet, Op. 20 and in Christus am Ölberg. Clementi himself used the theme again in the finale of his Piano Sonata in F Minor, Op. 14, No. 3. The influence of other sonatas by Clementi upon Beethoven is also noted. Elements of Clementi's G Minor Sonata (not just the opening phrase) are evident throughout the Eroica as a result of Beethoven's use of his own contredanse as a "reference theme." (The use of a reference theme, here a Russian theme, is also evident throughout the String Quartet Op. 59, No. 1.) The Prometheus music, the Variations, Op. 35, and the Eroica are viewed as "three successive responses to the same 'underlying idea,' each conceived in terms of a different 'poetic idea.'"
Works: Beethoven: Eroica (454), The Creatures of Prometheus (454), Piano Variations, Op. 35 (454), Septet, Op. 20 (460), Christus am Olberg (460), String Quartet Op. 59, No. 1 (464). (DCB)
Index classifications: 1800s
Ringer, Alexander L. "'Lieder eines fahrenden Gesellen': Allusion und Zitat in der musikalischen Erzählung Gustav Mahlers." In Das musikalische Kunstwerk: Geschichte, Ästhetik, Theorie: Festschrift Carl Dahlhaus zum 60. Guburtstag, ed. Hermann Danuser et al., 589-602. Laaber: Laaber-Verlag, 1988.
Musical allusions as an aesthetic principle (and not "creative impotence," as some critics sought to present it) were a part of Mahler's artistic creation from the beginning. At least at the start of his career, Mahler could count on the familiarity of his Viennese audience with certain musical ideas, no less than with numerous quotations from works of Schiller, Goethe, or the Antiquity, which belonged to the standard education of central-European bourgoisie. The first song from his cycle Lieder eines fahrenden Gesellen is based on a citation from Schubert's Mainacht, a song often performed in the circle of Mahler's friends. The poetic images in Mahler's text are also similar to those of Schubert's poet, Hölty. In the same song there is a second connection, to Marschner's "Romanze vom bleichen Mann" from the opera Vampyr. The third song is permeated by motives from the Ring, especially from Götterdämmerung. Allusions to motives are made at appropriate points in the text; for example, the phrase "nicht bei Tage, nicht bei Nacht, wenn ich schlief" ("not by day, not by night when I was asleep") is set to the descending chromatic line of the "Sleep" motive from the Ring. In the final song, apart from Wagner, Mahler quotes Schubert's Wegweiser and, most obviously, a lengthy excerpt from Donizetti's opera Don Sebastian in which a character witnesses his own funeral. The latter, a march theme Mahler remembered from performances heard ten years before, alludes to the mood of his character at the end of the cycle. The orchestral postlude consists of a twice repeated progression, a stepwise ascending minor third, common to all three of Mahler's models, Schubert, Wagner, and Donizetti.
Works: Gustav Mahler: Lieder eines fahrenden Gesellen, Das klagende Lied. (MP)
Index classifications: 1900s
Ringer, Alexander L. "The Music of George Rochberg." The Musical Quarterly 52 (October 1966): 409-30.
Rochberg's references to earlier compositions are discussed in the course of this general overview of his music. Numerous examples of quotation and self-quotation in his works are mentioned. His musical collages employ materials from a variety of works by others and by himself. In Rochberg's Contra Mortem et Tempus (1965), for instance, the allusions include those to Boulez, Berio, Varèse, Berg, Ives, and himself. With the composition of Music for the Magic Theater (1965), Rochberg has gained full independence from the past by so fully absorbing the music of the tradition that the music is no longer a burden on the present but instead points the way to the future. (DCB)
Index classifications: 1900s
Ripolles Pérez, Vicente. "Epístola farcida de San Esteban. Planchs de Sent Esteve." Boletín de la Sociedad Castellonense de cultura 24 (July/December 1948): 234-244; and 25 (April/June 1949): 130-148.
Index classifications: Monophony to 1300
Risinger, Mark Preston. "Handel's Compositional Premises and Procedures: Creative Adaptation and Assimilation in Selected Works, 1733-1744." Ph.D. diss., Harvard University, 1996.
Index classifications: 1700s
Rive, Thomas N. "An Examination of Victoria's Technique of Adaptation and Reworking in his Parody Masses--with Particular Attention to Harmonic and Cadential Procedure." Anuario musical 24 (1969): 133-52.
Index classifications: 1500s
Roberts, John H. "Handel's Borrowings from Keiser." In Göttinger Händel Beiträge 2, edited by Hans Joachim Marx, 51-76. Kassel: Bärenreiter, 1986.
Handel tended to return regularly to the works of certain composers as sources for his borrowed materials, notably the operas of Reinhard Keiser. Handel would have become familiar with Keiser's music through listening, performance, and presumably study of the scores during his years in Hamburg (ca. 1703-5). A table of the ten Keiser operas from which Handel borrowed is included. Roberts theorizes that Handel was often inspired to borrow by a textual similarity. Handel generally subjected the musical material extracted from another piece to extensive reworking, which leads Roberts to speculate that the composer's creative process may have required the stimulus of outside ideas. (RCL/NKT)
Index classifications: 1700s
Roberts, John H. "Handel's Borrowings from Telemann: An Inventory." In Göttinger Händel-Beiträge 1, ed. Hans Joachim Marx, 147-71. Kassel: Bärenreiter, 1984.
Roberts provides a list of 128 items containing borrowings from three collections of works of Telemann, Harmonischer Gottes-Dienst, the Musique de Table, and the Sonates sans basse, as well as borrowings from other sources contained in the same items. After briefly describing the three Telemann sources, Roberts divides Handel's Telemann borrowings into three types: use of incipit with fresh ideas or development; use of single internal passage; and compound borrowings from one model. He then offers guidelines for analysis according to these types. (CAC/JP)
Index classifications: 1700s
Roberts, John H. "The 'Sweet Song' in Demofoonte: A Gluck Borrowing from Handel." In Opera and the Enlightenment, ed. Thomas Bauman and Marita Petzoldt McClymonds, 168-88. Cambridge: Cambridge University Press, 1995.
Index classifications: 1700s
Roberts, John H. "Why did Handel Borrow?" In Handel Tercentenary Collection, ed. Stanley Sadie and Anthony Hicks, 83-92. London: Macmillan; Ann Arbor: UMI Research Press, 1987.
Although borrowing was not unusual in Handel's time, no other leading composer of the period is known to have borrowed on the same scale as Handel, so that the practice of the time does not fully explain why Handel borrowed. Nor do any of the more personal explanations offered in the past prove very satisfactory. Rather, it appears that Handel "had a basic lack of facility in inventing original ideas," writing melodies, and attaining fluency in the operatic style. These speculations do not diminish Handel's stature, and he deserves to be judged solely by the effects he achieves. (WJM)
Index classifications: 1700s
Roberts, John H., ed. Handel Sources: Material for the Study of Handel's Borrowing. New York: Garland, 1986-88.
Index classifications: 1700s
Robinson, Lisa Brooks. "Mahler and Postmodern Intertextuality." Ph.D. diss., Yale University, 1994.
[On compositions of the 1960s to 1980s that are modeled on or quote Mahler.]
Index classifications: 1900s
Robinson, Percy. Handel and His Orbit. London: Sherrat & Hughes, 1908; repr. New York, 1979.
Index classifications: 1700s
Rochberg, George. "Metamorphosis of a 20th-Century Composer." Music Journal (March 1976): 12.
In a brief interview, George Rochberg discusses his move away from serial techniques in the 1960s in hopes to create a more evenly mixed tonal/atonal tradition. With pieces like Music for Magic Theater, he relied upon the music of his peers as the foundation of the piece. His String Quartet No. 3, however, only evokes the music of past composers through the harmonic and motivic movement, which is interspersed between atonal sections of music.
Works: Rochberg: Music for Magic Theater, String Quartet No. 3. (MDA)
Index classifications: 1900s
Rodda, Richard E. "Genesis of a Symphony: Tippett's Symphony No. 3." The Music Review 39 (May 1978): 110-16.
Michael Tippett's compositional process is revealed through a discussion of the writing of his Symphony No. 3. Tippett perceives four distinct stages in this process: conception, where ideas are often inspired by other music or sounds; gestation, a period of mental development of the piece; development of form, both large and small, at which time some actual composing may begin; and the final stage, which is the writing of the score. In his Third Symphony, Tippett takes the idea of a vocal finale from Beethoven's Ninth Symphony and includes three quotations from Beethoven's final movement. The finale of Tippett's symphony is related in subject matter to Mahler's Das Lied von der Erde, and the musical style is based loosely on the blues as sung by Bessie Smith in St. Louis Blues with Louis Armstrong.
Works: Tippett: Symphony No. 3. (PRZ)
Index classifications: 1900s
Rohrbacher, Heinrich. Fors-seulement, 32 Kompositionen von Ockeghem bis Willaert. Mit Aufsätzen von Helen Hewitt und Otto Gombosi. [??]: [??], 1982.
Index classifications: 1400s, 1500s
Roman, Zoltan. "Connotative Irony in Mahler's Todtenmarsch in 'Callots Manier.'" The Musical Quarterly 59 (January 1973): 207-22.
In Mahler's First Symphony, third movement, section A is based on the tune Frère Jacques, and section B is based on "Die zwei blauen Augen von meinem Schatz," from Mahler's Lieder eines fahrenden Gesellen. Aristotles's eironeia is a means of interpreting the ironic treatment of the borrowed material; it is characterized by distortion, understatement, and self-depreciation.
Works: Mahler: Symphony No. 1, third movement (211); Symphony No. 2, third movement (218). (FT)
Index classifications: 1800s
Roman, Zoltan. "The Folk Element in Mahler's Songs." Canadian Association of University Schools of Music 8 (Autumn 1978): 67-84.
Mahler's songs to texts from Des Knaben Wunderhorn are influenced by folk music. Those most clearly related to folk or popular songs may be divided into two groups: (1) songs that show a direct resemblance to existing songs, and (2) songs with general characteristics of a popular genre such as dance songs and soldier songs. The melodies are classified by style (diatonic, chromatic, mixed); intervallic motion (triadic, conjunct, disjunct, mixed); and rhythm (predominantly dotted, primarily smooth, mixed). Mahler follows the stylistic traditions of the nineteenth-century Lied: the simplicity and "volkstümliche character" of many of the Wunderhorn songs is similar to Schubert; the harmonic language is much like Schumann; and the nature of the accompaniment is related to Brahms. While these songs clearly reflect the influences of his predecessors and of Romantic historicism, they also show Mahler's "absorption" and "adaptation" of material which foreshadows the "total stylistic assimilation of folk music" by twentieth-century composers.
Works: Mahler: "Revelge," "Wo die schönen Trompeten blasen," "Es sungen drei Engel einen süssen Gesang," "Wir geniessen die himmlischen Freuden," "Ich ging mit Lust durch einen grünen Wald," "Rheinlegendchen," "Lied des Verfolgten im Turm" ("Die Gedanken sind frei"), "Der Tamboursg'sell," "Zu Strassburg auf der Schanz," "Verlorene Müh'," "Hans und Grethe," "Nicht wiedersehen!," "Scheiden und Meiden," "Der Schildwache Nachtlied," and "Trost im Unglück" from Des Knaben Wunderhorn. (NS)
Index classifications: 1800s, 1900s
Roman, Zoltan. "Mahler's Songs and Their Influence on His Symphonic Thought." Ph.D. diss., University of Toronto, 1970.
Chapter V of Roman's dissertation presents an examination of Mahler's songs in symphonies from the point of view of their constituent poetical as well as musical-echnical elements. As in the genre of the song itself, Mahler also sought for new means of expression in the symphony. Still in the tradition of Beethoven, he expands "the grand design of symphonic music" by the incorporation of a hitherto unexplored resource: the song. The result of his search for an ultimate "symbiosis of symphonic and vocal music" can be described as follows: (1) Mahler's music--even in his apparently purely instrumental symphonies--has to be viewed in connection with his interest in literature. (2) The new possibilities created by Mahler's expansion of the genre are reflected in the works of the following generation.
Works: Mahler: Symphony No. 1, Symphony No. 2, Symphony No. 3, Symphony No. 4, Das Lied von der Erde. (AG)
Index classifications: 1800s, 1900s
Rorem, Ned. "Cries in the Dark." Opera News 53 (21 January 1989): 9-13.
Though products of one Zeitgeist, Schoenberg's Erwartung and Bartók's Bluebeard's Castle differ in compositional method, sonority, and texture. The influences of Ravel, Debussy, and Richard Strauss are heard in Bartók's opera, which in turn, influenced other composers. Stravinsky borrowed liberally from Bartók, using the latter's Music for Strings, Percussion and Celesta in his Symphony in Three Movements, and the First String Quartet in Jocasta's air from Oedipus Rex.
Works: Stravinsky: Symphony in Three Movements (11), Oedipus Rex (11). (CMC)
Index classifications: 1900s
Rorke, Margaret Ann. "Sacred Contrafacta of Monteverdi Madrigals and Cardinal Borromeo's Milan." Music and Letters 65 (April 1984): 168-75.
Just after the turn of the 17th century, Aquilio Coppini published three consecutive books of spiritual madrigals which were sacred contrafacta of madrigals by Monteverdi. In all the examples discussed in this article, most of the character, structure, syntax, melody, and words of the Italian originals are preserved in the new sacred Latin versions. Inspiration for these sacred recompositions probably came from a request by Cardinal Federico Borromeo, Archbishop of Milan, who, in following the sacred reforms instigated by his cousin and predecessor, Cardinal Carlo Borromeo, saw value in using the music of composers of the new baroque style in order to entice worshipers to the faith.
Works: Coppini: Maria, quid ploras (170), Te, Jesu Christe (170), Qui pietate tua dirupisti (170), Qui laudes tuas cantat (170), Luce serena (170), Plorat amare (171), O Jesu mea vita (171). (PRZ)
Index classifications: 1600s
Rosar, William. "Music for the Monsters: Universal Pictures' Horror Film Scores of the Thirties." The Quarterly Journal of the Library of Congress 40 (Fall 1983): 390-421.
The main title of the original Dracula (1930) consists of an abbreviated version of scene 2 from Tchaikovsky's Swan Lake. Whether conscious or not, the composer Heinz Roemheld was carrying on into sound pictures a convention from silent films, in which Tchaikovsky's piece was used as a misterioso. Original pieces from the 18th and 19th centuries were often employed in the scores of these "B movies," as producers naively believed this would bring sophistication and class to their films, the quality of which was admittedly substandard. The harmonic language peculiar to pieces such as Stravinsky's Firebird and Petroushka and the whole-tone scale in particular have become characteristic of horror film music since the early 1930s. (DBO)
Index classifications: 1900s, Film
Rose, Tricia. "Orality and Technology: Rap Music and Afro-American Cultural Resistance." Popular Music and Society 13, no. 4 (Spring 1989): 35-44.
Rap is often conceptualized as developing from the oral orientation of the African-American tradition but is rather a complex combination of orality and post-modern technology. The concept of rap as a "post-literate" oral tradition that is a natural outgrowth of oral Afro-American traditional forms is overly simplistic and romanticized. Rap lyrics, which are strongly identified with the rappers that wrote them, display the strong sense of authorship at work in the rap community, which stands in stark contrast to the concepts of orality. However, rap artists' use of sampling reveals the influence of the oral Afro-American tradition in which authorial authority is achieved not in creating a story but rather in its retelling, as texts are considered community property. By sampling, rap artists recontextualize pre-existing material, essentially using sampling technology as "de- and re-construction devices." Sampling, largely regarded as theft by the mass culture, consequently creates a type of resistance against that culture. The re-use of copyrighted material without permission can be read as undermining the legal and capital market authorities.
Works: Kool Moe Dee (Mohandas Dewese) and Teddy Riley: How Ya Like Me Now! (41); Eric B. (Eric Barrier) and Rakim (William Griffin Jr.): Paid in Full (42-43).
Sources: Jimmy Forrest: Night Train as performed by James Brown (41); Franne Golde, Dennis Lambert and Duane Hitchings: Don't Look Any Further as performed by Dennis Edward (42-43). (SLF)
Index classifications: 1900s, Popular
Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, N.H.: University Press of New England, 1994.
In a broader investigation of rap music and contemporary Black American culture, sampling is discussed (pp. 73-80 and 88-93). Rappers utilize sampling technology not as a shortcut to copy pre-existing music but rather as a means to achieve unique creative objectives. Often, the sonic qualities sought after by rap artists and producers can only be created through sampling, not through live performance or digital synthesized sound such as drum machines. The way in which digital samples are used by rap DJs is in line with what Walter Ong has identified in oral traditions as "narrative originality." According to Ong, narrative originality is achieved not through the creation of new material but through the "reshuffling" of the pre-existing material. However, in addition to this, use of sampling technology by rap artists can also be seen to constitute a means of composition. Samples in a rap song generate meaning through complex intertextual references, as does the process of "versioning," the reworking of an entire song so that it takes on new meaning in a new context. The use of sampling and versioning has generated conflict with existing copyright laws, and rap artists are often accused of stealing musical material. This problem arises partially because current copyright laws originated in the nineteenth century and were originally intended to protect musical scores. Sampling technology allows access to sounds that were previously "uncopiable" and therefore unprotected. (SLF)
Index classifications: 1900s, Popular
Roseberry, Eric. "A Note on the Chords in Act II of A Midsummer Night's Dream." Tempo, nos. 66-67 (Autumn-Winter 1963): 36-37.
The four chords Britten used in Act II of A Midsummer Night's Dream are remarkably similar to those used in the setting of "Sonnet to Sleep" (Keats) in the Serenade, the differences being a reversal of the first two chords, re-spacing, and re-scoring. Both works are concerned with the subject of sleep, thus lending added weight to the possibility of self-borrowing. However, upon Roseberry's inquiry, he and Britten discovered that the similarity was completely subconscious. The chords in the opera were developed in a conscious effort to use all twelve tones in a four-chord theme to be used for dramatic and structural purposes, while those in the Serenade came, according to Britten, "as a kind of harmonic overtone to the cello phrase."
Works: Britten: A Midsummer Night's Dream, "Sonnet to Sleep" from the Serenade. (NS)
Index classifications: 1900s
Roseberry, Eric. "Britten's Purcell Realizations and Folksong Arrangements." Tempo, no. 57 (Spring 1961): 7-28.
The Britten and Imogen Holst performing edition of Purcell's Dido and Aeneas, five songs from Orpheus Britannicus, and a realization of The Blessed Virgin's Expostulation show Britten's eclectic disposition as a composer. Britten's arrangements an improvement of those of Edward J. Dent (1925) and Cummings (1887), due to Britten's attention to more modern treatments of dissonance and less willingness to hold himself to "textbook" voice-leading principles. Britten felt that Purcell had given a framework that could incorporate almost any realization, but holds himself to "the rules of the game." Britten's ten Irish folksongs settings show the composer's similar pull to use more modern harmonic ideas in older music. The accompaniments often avoid cadences, and are "harmonically elusive."
Works: Britten/Purcell: Dido and Aeneas, (8, 13-24) Orpheus Britannicus, (8-10), The Blessed Virgin's Expostulation (10-13), Ten Irish Folksongs (24-28).
Sources: Purcell: Dido and Aeneas, (8, 13-24); Thomas Moore: Irish Melodies (24-28). (MEG)
Index classifications: 1900s
Rosen, Charles. "Influence: Plagiarism and Inspiration." 19th-Century Music 4 (Fall 1980): 87-100. Reprinted in On Criticizing Music: Five Philosophical Perspectives, ed. Kingsley Price, 16-37. Baltimore: The Johns Hopkins University Press, 1981.
Influences on one composer by another's work are demonstrated between Haydn and Mozart. In the first of two examples, the rhythmic shape of Mozart's fugal Gigue for Piano, K. 574 parallels the gigue finale of Haydn's C Major Quartet, Op. 20, No. 2. Mozart was familiar with Haydn's quartets Op. 20 and imitated them closely for years. Similarities are also drawn between Haydn's Symphony No. 81 and Mozart's Prague Symphony, including the use of ostinati, a flatted seventh degree within the introductions, similar rhythmic patterns, and the use of new motifs. Influence through structural modeling is then illustrated by a comparison of the finales from Brahms's D Minor Piano Concerto and Beethoven's Piano Concerto in C Minor.
Works: Schubert: Piano Sonata in A Minor, D. 959 (93); Brahms: Piano Sonata in C Major, Op. 1 (93); Scherzo, Op. 4 (93); Piano Concerto No. 2 (94). (MM)
Index classifications: 1700s, 1800s
Rosen, Lee Cyril. "The Violin Sonatas of Charles Ives and the Hymn." B.M. thesis, University of Illinois, 1965.
Index classifications: 1900s
Rosenstiel, Leonie. The Life and Works of Lili Boulanger. Rutherford, N.J.: Fairleigh Dickinson University Press, 1978.
The second half of this book focuses on the works of Lili Boulanger and provides detailed stylistic analyses of individual compositions. Within these stylistic analyses, a number of quotations from works by other composers are identified. In several cases, Rosenstiel discusses why these quotations may have been used. Examples of other composers borrowing compositional gestures from Boulanger are also pointed out.
Works: Boulanger: Nocturne (139), Le Retour (154), Pour les Funérailles d'un Soldat (156), Clairières dans le Ciel (172, 189), Dans l'Immense Tristesse (191); Fauré: "Diane" from Horizon chimérique (175); Honegger: Le Roi David (191); Ravel: La Valse (195), Concerto for the Left Hand (195). (LAR)
Index classifications: 1900s
Rosenzweig, Alfred. "Les adaptations de Lulli et de Couperin par Richard Strauss." La Revue Musicale 8 (April 1926): 33-47.
Index classifications: 1900s
Roth, Adelbert. "Studien zum frühen Repertoire der Päpstlichen Kapelle unter dem Pontifikat Sixtus IV (1471-1484): Die Chorbücher 14 und 51 des Fondo Cappella Sistina der Biblioteca Apostolica Vaticana." Città del Vaticano: Biblioteca Apostolica Vatican, 1991.
Index classifications: 1400s
Rubin, David. "Transformations of the Dies Irae in Rachmaninov's Second Symphony." The Music Review 23 (May 1962): 132-36.
The opening notes of the medieval Dies irae, dies illa has been used frequently by composers to allude, seriously or jocularly, to death. Rachmaninoff was especially fascinated with the Dies Irae, especially its first seven notes, and employed the chant most consistently and most strikingly. Rachmaninoff achieves a subtle architecture in his Second Symphony largely through the cyclic use of the Dies Irae, which undergoes a variety of transformations in construction and mood. Musical examples are provided to illustrate Rubin's outline of the transformations.
Works: Berlioz: Symphonie fantastique (132); Khatchaturian: Symphony No. 2 (132); Liszt: Totentanz (132); Mahler: Symphony No. 2 (132); Miaskovsky: Symphony No. 6 (132); Rachmaninoff: Isle of the Dead (132), Piano Concerto No. 4 (132), Piano Sonata No. 1 (132), Piano Sonata No. 2 (133), Symphonic Dance No. 1 (133), Symphony No. 1 (132), Symphony No. 2 (133), Symphony No. 3 (133); Respighi: Brasilian Impressions (132); Saint-Saëns: Danse Macabre (132); Tchaikovsky: Orchestral Suite No. 3 (132). (JP)
Index classifications: 1900s
Rublowsky, John. "Gershwin and Ives: The Triumph of the Popular Spirit." In Music in America, ed. John Rublowsky, 146-55. New York: Macmillan, 1967.
Following Dvorák's lead, Gershwin and Ives both evoked the popular spirit of American music. They validated borrowing from the American folk tradition and indigenous jazz. Gershwin transformed old musical clichés with a slight twist of originality. In Rhapsody in Blue he borrowed from Liszt in terms of form and style, borrowed from jazz the way Liszt borrowed from Hungarian gypsy music in his rhapsodies, and borrowed from Tchaikovsky, especially in the slow movement. Ives borrowed from popular dance hall tunes, hymns and patriotic anthems, brass band marches, country dances, and songs. Like Gershwin, he borrowed from the jazz idiom; also like Gershwin he fused his borrowings from American popular and folk traditions with his borrowings from the traditions and styles of European art music.
Works: Gershwin: Rhapsody in Blue (150-152), Cuban Overture (152-53), Porgy and Bess (153-55); Ives: Song for the Harvest Season (159), Second Piano Sonata ("Concord") (162, 164-65). (DB)
Index classifications: 1900s
Rubsamen, Walter. "Some First Elaborations of Masses from Motets." Bulletin of the American Musicological Society 4 (1940): 6-9.
Index classifications:
Rubsamen, Walter. "Unifying Techniques in Selected Masses of Josquin and La Rue." In Josquin des Prez: Proceedings of the International Josquin Festival-Conference Held at the Juilliard School at Lincoln Center in New York City, 21-25 June 1971, ed. Edward E. Lowinsky, in collaboration with Bonnie J. Blackburn, 369-400. London, New York, and Toronto: Oxford University Press, 1976.
Many of the works of Pierre de la Rue have been mistakenly ascribed to Josquin des Prez. A comparison of key compositional techniques in their four-voice masses may reveal why this error occurred so frequently. Few differences in cantus firmus treatment can be found between the composers, with both using the borrowed material fairly literally, in extended note values, as the basis for an ostinato pattern, or as a basis for melismatic elaboration. Both composers make frequent use of the motto technique as a means of unification within masses. In their early parody masses, both composers tended to borrow from individual voices rather than an entire polyphonic source, although La Rue borrowed more heavily from all voices later in his career. Since their treatment of borrowed material is similar in many cases, an examination of differences in melodic development is more useful for distinguishing between the styles of these two composers.
Works: Josquin: Missa L'homme armé (370, 371), Missa L'homme armé super voces musicales (370, 371): La Rue: Missa L'homme armé (370, 371), Missa Cum jucunditate (371, 373), Missa Puer natus (371), Missa Nunqua fué pena maior (371, 372): Josquin: Missa Allez regretz (371), Missa Ave maris stella (371), Missa Ad fugum (371), Missa Di dadi (371), Missa L'ami Baudichon (371), Missa Malheur me bat (372), Missa Fortuna desperata (372), Missa Mater patris (372), Missa Hercules Dux Ferrariae (372), Missa La sol fa re mi (372), Missa Faisant regretz (372); La Rue: Missa Incessament (372), Missa Ave sanctissima Maria (372, 375), Missa Almana (373, 374).
Sources: Hayne van Ghizeghem: Allez regretz (371); Ockeghem: Malheur me bat (372); Busnois: Fortuna desperata (372). (SW)
Index classifications: 1400s, 1500s
Ruf, Wolfgang. "Zimmermann und Jarry: Zur Musique pour les soupers du Roi Ubu." In Zwischen den Generationen, ed. Klaus Wolfgang Niemöller, Wulf Konold, and Manuel Gervink, 205-20. Regensburg: Bosse, 1989.
Index classifications: 1900s
Runciman, John F. "Noises, Smells and Colours." The Musical Quarterly 1 (April 1915): 149-61.
Scriabin's Prometheus borrows from Beethoven and Chopin. The design for the work is Beethoven's, while the themes are "Chopinesque." This brief reference is couched in a discussion of aesthetics in Stravinsky, Schoenberg, and Scriabin. Scriabin is called "one of the most generous borrowers time has brought forth." The music of these composers is compared with the art of Kandinsky and the literature of Pound. (BJT)
Index classifications: 1900s
Russell, Craig H. "The Idiom of Simon and Image of Dylan: When Do Stars Cast Shadows?" In Music in Performance and Society: Essays in Honor of Roland Jackson, ed. Malcolm Cole and John Koegel, 589-97. Warren, Michigan: Harmonie Park Press, 1997.
Little research has been done on Paul Simon's earliest years of songwriting and recording (pre-1963), as the songs have been dismissed by the songwriter himself as teen fluff and many early recordings are unavailable. Simon's style changed decisively in 1963 and 1964 because of his maturing as a songwriter, but also and maybe more importantly because of Bob Dylan's overwhelming influence in the folk-rock scene of the 1960s. Dylan paved the way for songwriters to express concerns about serious cultural and political issues. Simon could not help but be influenced by Dylan's songs that showed his consciousness of civil rights and other social issues. Simon claimed to have been inspired to write his first "serious" tune, He Was My Brother, as a eulogy to his friend, Andrew Goodman, who had been murdered in 1964. However, it is clear from the songs themselves as well as other evidence, that Dylan's influence was the primary factor in transforming Simon from a more frivolous singer/songwriter into a more mature songwriter in the 1960s.
Works: Paul Simon: He Was My Brother (595); Traditional: Peggy-O as performed by Paul Simon (596); Bob Dylan: The Times They Are A-Changin' (596); Paul Simon: A Church is Burning (596), On the Side of a Hill (596-97), A Simple Desultory Philippic, or How I was Robert McNamara'd into Submission (596-97).
Sources: Bob Dylan: Oxford Town (595), The Death of Emmett Till (595), The Lonesome Death of Hattie Carroll (595), Only a Pawn in Their Game (595-96); Traditional: Pretty Peggy-O as peformed by Bob Dylan (596); Bob Dylan: The Times They Are A-Changin' (596), With God on Our Side (597), Subterranean Homesick Blues (597), It's Alright Ma, I'm Only Bleeding (597), I Shall Be Free (597), Rainy Day Women No. 12 & 35 (597), Highway 61 Revisited (597). (VLM)
Index classifications: 1900s, Popular
Russell, Craig H., and Astrid K. Russell. "El arte de recomposicion en la música española para la guitarra barrocca." Revista de Musicologia 5 (1982): 5-23.
Spanish composers for the Baroque guitar took borrowed material as a point of departure for unique and personal creative expression. In the simplest cases, phrases were added or omitted from existing works, or changes were made in ornamentation. Another technique was the use of a musical "module" that could be altered, expanded into two separate phrases, or serve as a sort of musical parenthesis. This type of recomposition is frequently found in passacaglias, variations, batallas, and obras de clarines. In other cases, a borrowed phrase may serve as a point of departure for an entirely new composition. At other times, motifs may be borrowed to serve as unifying elements in a new composition, especially a suite.
Works: Libro de diferentes cifras de guitarra escojidas de los mejores autores (1-10, 14-15); Santiago de Murcia: Passacalles y obras de guitarra por todos los tonos naturals y acidentales (12-17), Obra por la O (18-22); Ruiz de Ribayaz: Luz y norte musical para caminar por las cifras de la guitarra española y arpa (16-17).
Sources: Gaspar Sanz: Instrucción de música sobre la guitarra española (2-10, 14-15); Antonio Martín y Coll: Flores de música (11-13); Antoine Carré: Prelude (14-15); Henry Grenerin: Gigue Aymable (14-15); Arcangelo Corelli: Sonatas from Opus 5 (15-16); François Campion: Nouvelles découvertes sur la guitarre (17); François Le Cocq: Recueil des pièces de guitarre (18-22). (FC)
Index classifications: 1600s, 1700s
Russell, Tilden A. "Brahms and 'Wer nur den lieben Gott lässt walten': A New Contribution." The American Brahms Society Newsletter 6, no. 2 (1988), n.p.
["The article concludes with a skeptical view of the whole question of quotation and allusion in Brahms." Author, letter of 23 November 1992]
Index classifications: 1800s
Ryder, Georgia A. "Harlem Renaissance Ideals in the Music of Robert Nathaniel Dett." In Black Music in the Harlem Renaissance: A Collection of Essays, ed. Samuel A. Floyd, Jr., 55-70. Westport, Conn.: Greenwood Press, 1990.
Although Dett never associated with the leaders of the Harlem Renaissance, he shared their belief that African-American folk music should be utilized in the development of classical compositions. Like some of the leaders of the Renaissance, Dett was ambivalent toward this folk music, particularly the spiritual, in its purer forms. Debate centered around the value of the pure folk idiom, and also around how it should be used in the development of high art. Dett's two extended choral compositions are based on spirituals. The Chariot Jubilee is based on Swing Low, Sweet Chariot, and The Ordering of Moses draws its subject, thematic material, and organizational devices from Go Down, Moses. (RLS)
Index classifications: 1900s