Saary, Margareta. Verfremdung von Zitaten als Basis früher musikalischer Kreativität. Hugo Wolfs Stilmittel in einem Frühwerk Anton Weberns. Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 1986.
Index classifications: 1900s
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: Macmillan, 1980. S. v. "Arrangement," by Malcolm Boyd; "B-A-C-H," by Malcolm Boyd; "Ballad opera," by Walter H. Rubsamen; "Cantus firmus," by Lewis Lockwood; "Centonization," by Geoffrey Chew; "Chorale," by Robert L. Marshall; "Chorale settings," by Robert L. Marshall; "Contrafactum," by Robert Falck and Martin Picker; "Dies irae," by John Caldwell and Malcolm Boyd; "Discant," by Rudolf Flotzinger and Ernest H. Sanders; "Film music," by Christopher Palmer and John Gillett; "Gassenhauer," by Peter Branscombe; "Hymn," by Warren Anderson, Ruth Steiner, Tom R. Ward, and Nicholas Temperley; "In Nomine," by Warwick Edwards; "Intabulation," by Howard Mayer Brown; "Leise," by David Fallows; "Magnificat," by Ruth Steiner, Winfried Kirsch, and Roger Bullivant; "Magnus liber," by Rudolf Flotzinger; "Mass," by Ruth Steiner, Maurus Pfaff, Richard L. Crocker, Frederick R. McManus, Theodor Göllner, Lewis Lockwood, and Denis Arnold; "Motet," by Ernest H. Sanders, Leeman L. Perkins, Christoph Wolff, Jerome Roche, James R. Anthony, and Malcolm Boyd; "Organ hymn," by John Caldwell; "Organ mass," by Edward Higginbottom; "Organum," by Fritz Reckow and Rudolf Flotzinger; "Organum and Discant: Bibliography," by Norman E. Smith; "Potpourri," by Andrew Lamb; "Paraphrase"; "Quodlibet," by Maria Rika Maniates (with Peter Branscombe); "Refrain," by John Stevens and Michael Tilmouth; "Sequence," by Richard L. Crocker and John Caldwell; "Variations," by Kurt von Fischer and Paul Griffiths.
Index classifications:
Sadler, Graham (?). "Réponse de l'auteur de la 'Lettre sur les opéras de Phaéton et d'Hyppolyte'...1743." In Studies on Voltaire and the Eighteenth Century, ed. H. T. de Booy, 341-96. [??]: [??], 1974.
Index classifications: 1700s
Sadler, Graham. "Jean Philippe Rameau." In The New Grove French Baroque Masters. New York; London: W. W. Norton & Company, 1986. See p. 248.
Index classifications: 1700s
Sadler, Graham. "Patrons and Pasquinades: Rameau in the 1730s." Journal of the Royal Musical Association 113 (1988): 314-[000].
Index classifications: 1700s
Sadler, Graham. "Rameau's Harpsichord Transcriptions from Les Indes galantes." Early Music 7 (January 1979): 18-24.
Public disapproval with certain elements of Rameau's Les Indes galantes led the composer in 1735 to issue some of the opera's instrumental music in the form of harpsichord pieces, titled Quatre grands concerts. The collection, largely neglected by scholars, provides insight into Rameau's methods of reworking while filling a chronological gap in the composer's keyboard output. The reworkings are clearly intended for performance on keyboard despite the possibility of performance on multiple instruments. Rameau's modifications to the original pieces are extensive: they involve a general thinning of texture, recomposition of inner lines, significant alterations to accompaniments, mimicry of orchestral textures through chordal writing, and liberal addition of ornamentation idiomatic to the keyboard. In addition, cuts are made in the originals in several locations for the benefit of the new texture.
Works: Rameau: Quatre grands concerts. (AJF)
Index classifications: 1700s
Sadler, Graham. "A Re-Examination of Rameau's Self-Borrowings." In Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. John Hajdu Heyer, 259-89. Cambridge: Cambridge University Press, 1989.
Since Girdlestone's article on Rameau's self-borrowings omitted most of them and contains many errors, a re-examination is necessary. Sadler discovers patterns in Rameau's borrowing habits according to the genre of the pieces quoted from. These include (1) harpsichord collections, (2) instrumental pieces from operas, and (3) vocal borrowings. The article, however, excludes borrowings "consisting of a single phrase or motive in mid-piece" and "items moved bodily from one self-contained entrée of an opera to another when a work was revived." Rameau's harpsichord pieces were well known and quotations from them were the only ones that the public seems to have identified. Rameau did not disguise them but rather placed them in prominent positions of his first group of operas. His usual practice was to change the formal structure of the original considerably, borrowing only the first one or two phrases or the refrain of a rondeau. With these quotations Rameau hoped to transfer some of the popular appeal to his early operas. Once the Lulliste-Ramiste controversy had resolved in his favor, these borrowings were handled much more freely. Rameaus's approach to borrowing from instrumental operatic pieces differs considerably from the one discussed above. From 1745-60 he quoted his lesser-known operas with little change, whereas during the last four years of his life, he extensively reworked parts from his most famous operas, such as Castor and Pollux, Zoroastre, Platée, and Zaïs. The reluctance of the French to re-use vocal numbers and to re-set existing libretti explains why Rameau usually altered the text of his vocal borrowings, a fact which makes it difficult to trace possible borrowings from operas of which the music is lost. Vocal borrowings make up the smallest category and it is thus difficult to draw any conclusions about their purpose. Rameau quotes from some of his most famous arias but here again may borrow only the opening measures, stimulating his imagination to continue freely.
Works: Rameau: La Princesse de Navarre (260, 270, 273), Les fêtes d'Hébé (262), Zoroastre (262, 264-65, 266, 272), Les Indes galantes (264), Pièces de clavecin en concerts (265), Dardanus (266), Les surprises de l'amour (268), Les fêtes de Polymnie (273), Io (273). (AG)
Index classifications: 1700s
Sala, Emilio. "Verdi and the Parisian Boulevard Theatre, 1847-49." Cambridge Opera Journal 7 (1995): 190-91.
[from AG's dissertation: According to Sala, "a chorus from Alphonse Varney's music for Dumas and Auguste Marquet's Le chevalier de maison-rouge (1847) bears a strong resemblance to the opening chorus of La battaglia di Legnano (1849). Also another mélodrame/drame, Emile Souvestre and Eugène Bourgeois's Le Pasteur ou l'évangile et le foyer (1849) with music of uncertain authorship, may have provided musico-dramatic ideas for Stiffelio."]
Index classifications: 1800s
Sambeth, Heinrich Maria. "Die gregorianischen Melodien in den Werken Franz Liszts mit besonderer Berücksichtigung seiner Kirchenmusik-Reformpläne." Musica sacra 55 (1925): 255-65.
Index classifications: 1900s
Sandon, Nicholas John. "Paired and Grouped Works for the Latin Rite by Tudor Composers." The Music Review 44 (February 1983): 8-12.
Although evidence suggests that the pairing of sacred works by Tudor composers was a popular compositional practice, the extensive loss of music from this period makes it difficult to discern to what degree this actually occurred. Of the surviving works that have been paired according to musical or textual similarities, a large number appear to have been written for specific liturgical or government-related celebrations. The sacred works involved in these groupings include cyclic masses, votive antiphons, and Magnificats, and it is the mass-antiphon pairs that have survived in greatest number. The degree to which each pair is related varies greatly, from a pair sharing the same cantus firmus, to a pair containing extensive cross-quotation, to a pair in which the similarities are vague enough to be considered coincidental. A more thorough investigation of techniques and purposes for the grouping of sacred works is needed to determine the historical importance of this practice.
Works: (listed as pairs or groupings): Aston: Missa Te matrem Dei and Te matrem Dei (9, 11); Taverner: Missa Mater Christi and Mater Christi (9, 12), Small Devotion Mass and O Christe Jesu (9, 12); Fayrfax: Missa Albanus and O Maria Deo grata (9, 11); Tallis: Missa Puer natus and Suscipe quaeso (9,12); Fayrfax: Missa O bone Jesu and O bone Jesu (antiphon and Magnificat) (10, 11), Missa Regali ex progenie, Gaude flore virginali, and Regale (10, 11); Tye: Missa Euge bone and Quaesumus omnipotens (10, 12); Ludford: Missa Inclina and Ave Maria ancilla Trinitatis (11), Missa Bendicta et venerabilis and Benedicta (11); Pashe: Missa Christus resurgens and Magnificat (11-12); Tallis: Missa Salve intemerata and Salve intemerata (12). (SW)
Index classifications: 1500s
Santarelli, Cristina. "Messe fiamminghe sulla chanson Fors seulement." Rivista Internazionale di Musica Sacra 4 (1981): 420-39.
Index classifications: 1400s, 1500s
Santarelli, Cristina. "Quattro Messe sul tenor Fors seulement." Nuova Rivista Musicale Italiana 14 (July/September 1980): 333-49.
Index classifications: 1400s, 1500s
Sautter, Gerhard. "Zur Funktion des Zitats in Mahlers Sinfonik." Ph.D. diss., University of Marburg, n. d.
Index classifications: 1900s
Saxer, Victor. "L'épître farcie de la Saint-Étienne 'Sesta Lesson': inventaire bibliographique." Provence Historique 23 (July/December 1973): 318-26.
Index classifications: Monophony to 1300
Saylor, Bruce. "Looking Backwards: Reflections on Nostalgia in the Musical Avant-Garde." Centerpoint: A Journal of Interdisciplinary Studies 1 (Spring 1975): 3-7.
Index classifications: 1900s
Saylor, Bruce. "A New Work by George Perle." The Musical Quarterly 61 (July 1975): 471-75.
In Perle's Songs of Praise and Lamentation for chorus and orchestra, the musical borrowings are closely linked to literary references. The work consists of three movements: the first is a setting in Hebrew of Psalm 18, verses 4-15; the second is an a cappella setting of four poems by Rainer Maria Rilke from his Sonnets to Orpheus; and the third sets a poem by John Hollander written for this piece. Perle's style as exemplified in this work rests on his personal theory of twelve-tone modality as well as on the influences of other composers. The work laments the deaths of a number of composers through the use of borrowed music. The borrowings include Gregorian chant, Hebrew chant, and a number of specific works that follow the theme of lamentation. For example, Perle uses Ockeghem's Déploration sur la mort de Binchois, followed by Josquin's La Déploration de Johan Okeghem, followed in turn by Vinders's Lamentatio super morte Josquin de Prés. In the third movement, the roles of poetry and music are woven together most tightly. Hollander's poem refers to past poets as Perle's music refers to composers. (JS)
Index classifications: 1900s
Schaefers, Anton. "Gustav Mahlers Instrumentation." Ph.D. diss., University of Bonn, 1933.
Index classifications: 1900s
Schäfer, Thomas. "Musik über Musik." Musica 48 (November-December 1994): 324-29.
Index classifications: General, 1900s
Schatt, Peter W. Exotik in der Musik des 20. Jahrhunderts. Munich, 1986.
Index classifications: 1900s
Scheibler, Albert. "Dramaturgisch-szenische Rückschlusse aus der methodologisch betrachteten Entnahme- und Entleihungspraxis durch Georg Friedrich Händel." Händel-Jahrbuch 37 (1991): 209-21.
Index classifications: 1700s
Schenk, Erich. "Barock bei Beethoven." In Beethoven und die Gegenwart: Festschrift für Ludwig Schiedermair. Berlin and Bonn: Dümmler, 1937.
Index classifications: 1800s
Schering, Arnold. "Kleine Bachstudien." Bach-Jahrbuch 30 (1933): 30-70.
Index classifications: 1700s
Schering, Arnold. "Über Bachs Parodieverfahren." Bach-Jahrbuch 18 (1921): 49-95.
Index classifications: 1700s
Schildkret, David. "On Mozart Contemplating a Work of Handel: Mozart's Arrangement of Messiah." In Festa Musicologica: Essays in Honor of George J. Buelow, ed. Thomas J. Mathiesen and Benito V. Rivera, 129-46. Stuyvesant, N.Y.: Pendragon, 1995.
Mozart's arrangement of Handel's Messiah in 1789 is not a "joyless labor in which Mozart invested a minimum of artistic efforts" as many scholars perceive it. After being commissioned by Baron Gottfried van Swieten, Mozart worked on the arrangement based on the first edition of Handel's score published by Randall and Abell. Mozart's changes fall into four categories: cuts and substitutions; changes of orchestration; addition and alteration of performance indications; and others. Most extensive and significant are the alterations made in orchestration. Mozart minimizes the juxtaposition of soloist and orchestra of the concerto-like dialogue in Handel; alters Handel's inflections by emphasizing important cadences in order to clarify the structure; and adds dynamic markings, bowings, articulations, trills, and tempo changes. All these alterations indicate an underlying logic of Mozart's artistic intention: to transform the outdated style of Baroque music and its performance practice into the musical language of his time in order to suit the taste of the late-eighteenth-century audience.
Works: Mozart: Arrangement of Handel's Messiah K. 572 (132-36, 140-46).
Sources: Handel: Messiah (137-39). (TC)
Index classifications: 1700s
Schleuning, Peter. "Deponite potentes de sede! Stosst die Mächtigen vom Thron! Ein Bach-Zitat in Hanns Eislers Musik zur Mutter." In Warum wir von Beethoven erschüttert werden und andere Aufsätze über Musik, ed. Peter Schleuning, 75-94. Frankfurt am main: Verlag Roter Stern, 1978. Italian translation by Fabio Schaub: "Deponite Potentes de sede una citazione da Bach nella Madre di Hanns Eisler." Rivista Italiana di Musicologia 9 (1974): 229-49.
Index classifications: 1900s
Schmalz, Robert F. "Selected Fifteenth-century Polyphonic Mass Ordinaries Based on Pre-existent German Material." Ph.D. dissertation, University of Pittsburgh, 1971.
Index classifications: 1400s
Schmidt, Günther. "Zur Frage des Cantus firmus im 14. und beginnenden 15. Jahrhundert." Archiv für Musikwissenschaft 15 (November 1958): 230-50.
Index classifications: 1300s, 1400s
Schmidt, Heinrich. "Formprobleme und Entwicklungslinien in Gustav Mahlers Symphonien." Ph.D. diss., University of Vienna, 1929.
Index classifications: 1800s, 1900s
Schmidt-Goerg, Joseph. "Vier Messen aus dem XVI. Jahrhundert über die Mottete Panis quem ego dabo des Lupus Hellinck. Ein Beitrag zur Entwicklungsgeschichte der Missa parodia." Kirchenmusikalisches Jahrbuch 25 (1930): 77-93.
Index classifications: 1500s
Schmidt-Görg, Josef. "Die Introites de taverne: Eine französische Introiten-Parodie des 16. Jahrhunderts." Kirchenmusikalisches Jahrbuch 30 (1935): 51-56.
Index classifications: 1500s
Schmitt, Theo. "Die Parodiemesse Fuggi pur se sai von Johann Stadlmayr und ihr Modell, eine gleichnamige Aria von Giovanni Gabrieli." Kirchenmusikalisches Jahrbuch 67 (1983): 35-43.
Stadlmayr's Missa Fuggi pur se sai, based on Giovanni Gabrieli's secular composition of the same name, is one of four masses that borrow material from other composers, and one of two that borrow from works of Gabrieli. These two works in particular testify to the marked influence of the Venetian school in southern Germany during the first half of the seventeenth century. Both of Stadlmayr's masses based on works of Gabrieli use the original material sparingly. The Missa Fuggi pur se sai illustrates this economy while demonstrating some remarkable inventiveness on the part of Stadlmayr, particularly in his treatment of rhythm. Together, all four masses illustrate that imitation technique was far from being a unified procedure in seventeenth-century compositional practice.
Works: Stadlmayr: Missa Fuggi pur se sai. (RVT)
Index classifications: 1600s
Schmitt, Theodor. "Der langsame Symphoniesatz Gustav Mahlers: historisch-vergleichende Studien zu Mahlers Kompositionstechnik." Ph.D. diss., University of Munich, 1981.
Index classifications: 1800s, 1900s
Schneider, Frank. "Bach als Quelle im Strom der Moderne (Von Schönberg bis zur Gegenwart)." Jahrbuch des Staatlichen Instituts für Musikforschung Preussicher Kulturbesitz (1994): 110-25.
Index classifications: 1900s
Schneider, Herbert. "Die Parodieverfahren Igor Strawinskys." Acta Musicologica 54 (January/December 1982): 280-93.
Index classifications: 1900s
Schnürl, K. "Die Variationstechnik in den Choral-Cantus firmus-Werken Palestrinas." Studien zur Musikwissenschaft, Vol. 23, 11-66. Vienna, 1956.
Index classifications: 1500s
Schoenberg, Arnold. "A Self-Analysis." Musical America 73 (February 1953): 14, 172.
Index classifications: 1900s
Schoenberg, Arnold. "Folkloristic Symphonies." Musical America 67 (February 1947): 7, 370. Also trans. Schoenberg as "Symphonien aus Volksliedern." Stimmen 1 (November 1947): 1-6. English version in Style and Idea, ed. Dika Newlin, 196-203. New York: Philosophical Library, 1950; reprinted in Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, 161-66. London: Faber and Faber, 1975.
Many composers have tried to create art music from folk music. These two types of music should not be combined. In his String Quartet Op. 59, No. 2, Beethoven only treated the borrowed Russian folk melody in a fugato-like manner. A melody that is used in a large-scale formal structure must lend itself to developmental processes. A folk melody is complete in itself. This is beautiful music, unlike artificial "folk" melodies which try to represent the spirit of the people, yet result in trivial condescension. A motive, unlike a folk melody, is incomplete; for example, the opening motive of Beethoven's Symphony No. 5 must be elaborated and developed to achieve its true character and to exhaust its expression. When folk song is used in a symphony, because the song is already complete, all composers can do is apply techniques of development, such as repetition, transposition, changes of instrumentation, and sequence.
Works: Beethoven: String Quartet in E Minor, Op. 59, No. 2 (162). (CMH)
Index classifications: 1800s, 1900s
Schoffman, Nachum. "The Songs of Charles Ives." Ph.D. dissertation, Hebrew University of Jerusalem, 1977.
Index classifications: 1800s, 1900s
Schrade, Leo. "A Note Concerning 'A Fourteenth Century Parody Mass.'" Acta Musicologica 28 (January/March 1956): 54-55.
Index classifications: 1300s
Schrade, Leo. "A Fourteenth Century Parody Mass." Acta Musicologica 27 (January/July 1955): 13-39. Reprinted in De Scientia Musicae Studia atque Orationes, ed. Ernst Lichtenhahn, 241-82. Bern: Paul Haupt, 1967.
The presence of parody techniques in The Mass of the Sorbonne proves the practice of parody existed in the 14th century, earlier than previously thought. Identical opening material, common melodic goals, and common main tones, suggest a relationship between the Sorbonne Mass Gloria and Ivrea Credo. The presence of similar motives and staggered sequences in the Benedictus sections, and nearly identical melismas in the tenores suggests the Sorbonne Sanctus and Ivrea Sanctus are also related. The musical insertions, "Salva nos" trope, and old form of writing in the Ivrea Manuscript suggest the composer based his setting on a source that is now lost. The composer adhered to the original source but altered it enough to accommodate a text trope, which he set to a new quadruplum melody. The composer of the Sorbonne, did not use the Ivrea version, but rather parodied the primary source.
Works: Mass of Toulouse, La Messe de Besançon (13-15); Mass of Sourbonne (14-16, 18-20, 25-32, 34-36, 39).
Sources: Gloria Qui sonitu melodie (13); Kyrie Rex Angelorum (16). (DG)
Index classifications: 1300s
Schrems, Theobald. Die Geschichte des Gregorianischen Gesanges in den protestantischen Gottesdiensten. Freiburg: St. Paulusdruckerei, 1930.
Index classifications: 1500s
Schroeder, David. "Melodic Source Material and Haydn's Creative Process." The Musical Quarterly 68 (October 1982): 496-515.
The melodic source material which Haydn uses provides insight into the creative process. Special attention is paid to the sources which Haydn draws upon (either consciously or unconsciously) in the slow introductions and allegro themes of the symphonies written during or after 1785. The use of these sources arises "naturally from [the composer's] storehouse of material in order to create certain effects or types of character." Slow introductions often show the influence of folk songs and hymns. Allegro themes have an affinity with dance music. Haydn draws upon his national heritage to create works of a strong individual cast. Statements by Mahler and Ravel indicate that Haydn is by no means unique in the manifestation of an aesthetic in which national heritage and individual consciousness meet.
Works: Haydn: Symphony No. 26 (499), Symphony No. 64 (500), Symphony No. 103 (508). (DCB)
Index classifications: 1700s
Schubert, Giselher. "Paul Hindemiths musikalische Reaktion auf den Holocaust: Das Zitat einer jüdischen Weise im Flieder-Requiem." Neue Zeitschrift für Musik 3 (May-June 1998): 44-48.
Index classifications: 1900s
Schuier, Manfred. "Spuren des Barock im Schaffen von Carl Orff: Zum 85. Geburstag des Komponisten." Musik und Bildung 12 (July-August 1980): 448-52.
Index classifications: 1900s
Schuier, Manfred. "Das Zitat in Pendereckis Lukaspassion." In Musik--Welt von innen. Festschrift für Robert Wagner, ed. Petere Buchheim, [000-000]. Munich: Strumberger, 1980.
Index classifications: 1900s
Schulz, Reinhard. "Das Zitat als Ausweg: Zur Überwindung der Sprachlosigkeit in der Neuen Musik, mit Hinweisen auf Bernd Alois Zimmermanns Musique pour les soupers du roi Ubu." In Festschrift: Rudolf Bockholdt zum 60. Geburtstag, 413-18. Pfaffenhofen: Ludwig, 1990.
Index classifications: 1900s
Schulze, Hans-Joachim. "Johann Sebastian Bachs Konzertgearbeitungen nach Vivaldi und anderen: Studien oder Auftragswerke?" Deutsches Jahrbuch der Musikwissenschaft 18 (1978-79): 80-000.
Index classifications: 1700s
Schulze, Hans-Joachim. "Melodiezitate und Mehrtextigkeit in der Bauernkantate und in den Goldbergvariationen." Bach-Jahrbuch 62 (1976): 58-72.
Index classifications: 1700s
Schulze, Hans-Joachim. "The Parody Process in Bach's Music: An Old Problem Reconsidered." Bach 20 (Spring 1989): 7-21.
The subject of parody procedure in Bach's music has been approached with uneasiness and skepticism by writers for at least the past 100 years. Nineteenth- and early twentieth-century writers, including Rust, Spitta, and Schweitzer, have exhibited a tendency to minimize the extent of Bach's borrowing procedure and to simultaneously reify his status as "Germany's greatest church composer." On the other hand, later twentieth-century scholars, such as Schering, Smend, Neumann, and Finscher, have approached Bach's parody technique more directly, defining its parameters more clearly while attempting explanations which at times assume an apologetic tone. Descriptions of parody procedure in Bach's era, in contrast, tend to be uncritical of it as a method but insist on a skillful application of new text to the existing music. A consideration of parody procedure in Bach's Christmas Oratorio (BWV 248) demonstrates that the joining of the new texts with the older music was carried out with great care. The implications suggested by this work and others for our understanding of Bach's parody procedure are manifold: a number of explanations--including those of economic necessity, "neutrality" of the music with respect to the original text as a prerequisite for parody, and the desire to further elaborate existing material--may be accepted without contradiction as long as an apologetic attitude is not adopted. In the final analysis Bach's borrowing procedure should be seen as a vital method by which a given piece of music is qualitatively elaborated upon.
Works: Bach: Mass in B Minor, BWV 232 (9), Christmas Oratorio, BWV 248 (14-17). (AJF)
Index classifications: 1700s
Schumacher, Thomas G. "This Is a Sampling Sport: Digital Sampling, Pop Music, and the Law in Cultural Production." Media, Culture, and Society 17 (April 1995): 253-73.
The invention of digital sampling and its pervasive use in rap music creates problems regarding concepts of authenticity, originality, and ownership that manifest themselves as conflicts with copyright law. The prevailing legal attitude towards sampling considers it to be intellectual thievery as well as simply lacking in artistic merit due to the absence of creative "originality." However, according to the theories of Walter Benjamin, in the age of modern reproduction there exist no originals, only a "plurality of copies." This, in conjunction with the fact that all popular music is a product of technological alteration and production, makes the concept of "authentic music" that exists in a pure, unaltered form an illusion. This illusive concept is widely accepted in western Anglo society and forms the basis of current copyright laws. However, it stands in stark contrast to the practice of "Signifyin(g)" that forms the basis of Black discourse in which meaning largely depends on the "intertextual referencing of previous texts." This institutionalized belief in the illusion of "authentic" and "original" music helps to perpetuate the use of authorial designations to reinforce positions of social power as described by Foucault. In addition, control of capital is affected by this concept as the legal system relies heavily on profitability in making decisions of copyright violation. (SLF)
Index classifications: 1900s, Popular
Schumann, Robert. On Music and Musicians. Edited by Konrad Wolff. Translated by Paul Rosenfeld. New York: Pantheon Books, 1946.
Index classifications: 1800s
Schünemann, Georg. "Bachs Verbesserungen und Entwürfe." Bach-Jahrbuch 32 (1935): 1-32.
Index classifications: 1700s
Schuster, Claus Christian. "Anklange: Zum Wesen des Zitates bei Johannes Brahms." Österreichische Musikzeitschrift 52/4 (1997): 27-39.
Index classifications: 1800s
Schutte, Sabine. "Nationalhymnen und ihre Verarbeitung. Zur Funktion musikalischer Zitate und Anklänge." In Das Argument, Sonderband 5, Musikalische Analysen, ed. Albrecht Dümling, Hartmut Fladt, Sibylle Haberditzl, W. F. Haug, Dieter Krause, Friedrich Tomberg, and Gerhard Voigt, 208-17. Berlin (East): Argument-Verlag, 1975.
In his Kinderhymne (1950/51), Hanns Eisler borrows from both the German national anthem (Deutschland, Deutschland über alles) and the East-German national anthem (Auferstanden aus Ruinen), which Eisler composed in 1949. According to Schutte, the listener not only should know what pieces the composer is quoting, but also should be aware of their historical background, since both aspects determine the intentions of a composition. The first part of the Kinderhymne alludes to both anthems, of which the melodic similarities in the opening measures prevent a clear distinction. In the course of the composition the origins of the opening measures are revealed: a direct quotation from the East-German anthem is combined with "intended" (obvious although not exact) quotations from the German anthem. By applying this technique, Eisler refers to the German anthem as a tradition that is taken over by East-Germany not in its original from but as a basis to create something new. Schutte compares Eisler's Kinderhymne with Stockhausen's Hymnen (composed 1967), another work including national anthems. In the second "region" (movement), Stockhausen combines the German anthem with fragments of the Horst-Wessel-Lied (the Nazi anthem). Although these quotations are "disturbed" by noise and electronic sounds, they always remain clearly recognizable. According to Schutte, Stockhausen's Hymnen therefore lack any sense of consciousness of tradition, and the fact that he places hymns standing for historical progress on the same level as the Horst-Wessel-Lied characterizes him as a "helplessly unpolitical composer."
Works: Eisler: Kinderhymne; Stockhausen: Hymnen (214-16). (AG)
Index classifications: 1900s
Schwager, Myron. "Some Observations on Beethoven as an Arranger." The Musical Quarterly 60 (January 1974): 80-93.
The rise of musical publishing and the lack of copyright laws in the late eighteenth century and early nineteenth century strongly encouraged the practice of arranging. Beethoven was an active arranger of his own works, especially those of his early period. He would make unsolicited offers of his adaptations to publishers but would also assume the right to refuse a request for one if so desired. His personal reluctance to arrange works of others did not deter him from seeking the help of others in arranging his own works when time or interest was wanting, but he demanded control over the arranger and the manner of arranging. The criteria for acceptance or rejection of the arrangement were based on the abilities of the arranger. His most satisfactory relationship with a freelance arranger was that with Czerny. (JP)
Index classifications: 1800s
Schwarte, Michael. "Parodie und Entlehnung in Leonard Bernsteins Candide: Bemerkungen zu einem musikgeschichtlichen Gattungs-Chamäleon." In Festscrift Klaus Hortschansky zum 60. Geburtstag, ed. Axel Beer and Laurenz Lutteken, 567-80. Tutzing: Schneider, 1995.
Index classifications: 1900s
Schwarting, Heino. "Komposition nach Vorbild: Vergleiche bei Schubert und Beethoven." Musica 38 (March/April 1984): 130-38.
The fourth movement of Schubert's Piano Sonata in A major, D. 959 (1828), is closely related to the third movement of Beethoven's Piano Sonata in G major, Op. 31, No. 1 (1802), which Schubert knew. Similarities between the two Allegretto finales are visible in the formal structure of the opening theme, the partial chromaticism of the thematic material, some rhythmic patterns, harmonic progressions, and overall form. Another conscious borrowing occurs in Schubert's Grand Rondeau in A major for piano four hands, D. 951, which is based on the second movement of Beethoven's Piano Sonata in E minor, Op. 90; in this case, unlike the previous one, Schubert composed a work that differed considerably in emotional expression from Beethoven's, despite similarities in form. There is also a less obvious parallel between the second movements of Schubert's Piano Trio in E flat major, D. 929, and Beethoven's Piano Trio in D major, Op. 70, No. 1. (MP)
Index classifications: 1800s
Schwartz, Charles M. "Elements of Jewish Music in Gershwin's Melody." M.A. thesis, New York University, 1965.
Index classifications: 1900s, Popular
Scott, Ann B. "The Beginnings of Fauxbourdon: A New Interpretation." Journal of the American Musicological Society 24 (Fall 1971): 345-63.
Scholars have long debated over the true evolution of the practice of fauxbourdon. They argue over whether it was a reproduction of an English method of cantus supra librum, or if it was conceived independently on the continent. The technique first appeared in the Communion of Dufay's Missa Sancti Jacobi, and the term "faburden" was in use in England by 1430. It evolved from a tradition of improvised polyphony in England that involved three voices singing in a primarily parallel style. The borrowed cantus firmus appeared in the middle voice, a technique that sets English practice apart from the continental one, where the cantus firmus appears in the treble. Musicians on the continent used and modified faburden, with similar aural results. Two written examples in the Old Hall manuscript are exceptions that prove the rule that faburden was an improvisatory technique. O lux beata Trinitas uses the plainchant in the middle voice transposed up a fifth and in a rhythmically flexible manner, with the outer voices lightly ornamented. In the Gloria trope Spiritus procedens, the chant is paraphrased untransposed in the middle voice. Thus, pieces using fauxbourdon exhibit the characteristics of faburden, proving the English origin of the practice.
Works: Dufay: Missa Sancti Jacobi (345); Binchois: Te Deum (351); Anonymous: O lux beata Trinitas (352); Gloria trope: Spiritus procedens (352); Credo: Conditor alme siderum (352); Anonymous: Te Deum (352). (RCD)
Index classifications: 1300s, 1400s
Scott, Hugh Arthur. "Indebtedness in Music." The Musical Quarterly 13 (October 1927): 497-509.
Amid the general discussion of the various forms that indebtedness can take (Handel is most specifically discussed), the article questions composers' frequent use of "familiar phrases": Was Wagner aware that the opening notes or intervals from the prelude to Tristan had already been used by Bach, Mozart, Beethoven, Schumann, and Liszt? The main interest focuses on various and sundry quotations, merely citing examples by well-known composers, while no real connection between the quotations is apparent.
Works: Beethoven: Piano Sonata in F Minor, Op. 2 (504-06), Piano Sonata in C Minor, Op. 13 (Pathétique) (503); Wagner: "Anvil" motive from the Ring (504-05); Brahms: Symphony in C Minor (505), Piano Quartet in G Minor (505); Tchaikovsky: Symphony No. 6 (Pathétique) (506); Liszt: Dante Symphony (507); Wagner: Tristan und Isolde (502, 507); Mozart: Don Giovanni (508); Beethoven: Diabelli Variations (508); Brahms: Unüberwindlich (509); Elgar: "The Music Makers," from Enigma Variations (509); Mackenzie: London Day by Day Suite (509), Dream of Jubal (509); Puccini: Madame Butterfly (509); Richard Strauss: Elektra (498); Bach: Wachet, betet (504), Ich hatte viel Bekümmerniss (504), Uns ist ein Kind geboren (504), St. John Passion (504), St. Matthew Passion (504). (MM)
Index classifications: General, 1700s, 1800s, 1900s
Seiffert, Max. "G. Ph. Telemanns Musique de table als Quelle für Händel." Bulletin de la Société 'Union Musicologique.'" 4 (1924): 1-28.
Index classifications: 1700s
Seiffert, Max. "Händel's Verhältnis zu Tonwerken älterer deutscher Meister." Jahrbuch der Musikbibliothek Peters 14 (1907): 41-57.
Index classifications: 1700s
Shalley, Regis V. "A Study of Compositional Techniques In Selected Paraphrase Masses of Cristobal Morales and Tomas Victoria." Ph.D. diss., University of Cincinnati, 1972.
Index classifications: 1500s
Shamgar, Beth. "Three Missing Months in Schubert's Biography: A Further Consideration of Beethoven's Influence on Schubert." The Musical Quarterly 73 (1989): 417-34.
The standard biographies of Schubert are silent about the events that occurred between March and July of 1824. Two works for piano four hands from this period, the Gran Duo in C Major, D. 812 and the Eight Variations on an Original Theme in A-flat major, D. 813, respectively quote from Beethoven's Second and Seventh Symphonies. Schubert is shown to have been present at the Kärntnertor Theatre on the evening of May 7, 1824 when Beethoven's Ninth Symphony was premiered, and Schubert was moved enough to pay tribute to Beethoven in his next two pieces for piano duet mention above. Although transformed into Schubertian sentiments, the borrowed ideas show unmistakably his allegiance to Beethoven's symphonic model. Schubert's quotation of the "Freude" theme from the Beethoven's Ninth Symphony in his "Great" C major Symphony, D. 944 (1825), provides further evidence that Schubert was present at the Ninth's first performance since the score was only published in 1826.
Works: Schubert: Gran Duo in C Major, D. 812 (421-25, 31), Eight Variations on an Original Theme in A-flat Major, D.813 (421-22, 26-29, 31-32), "Great" C major Symphony, D. 944 (432-434). (LFL)
Index classifications: 1800s
Shanet, Howard. "Bizet's Suppressed Symphony." The Musical Quarterly 44 (October 1958): 461-76.
Bizet's Symphony in C was composed in 1855 but was not performed until 1935. The symphony has often been cited as being reminiscent of earlier composers' music. Beethoven, Haydn, Mendelssohn, Schumann, Rossini, Schubert, Mozart, and even Brahms (!) have been mentioned. Bizet in fact wrote his symphony with a specific model in mind, the Symphony in D by his teacher and friend Gounod. Almost all of the conspicuous features of the Bizet can be traced back to Gounod. Gounod's symphony had been a great hit in Paris, and this may indicate that Bizet chose not to have his symphony performed upon completing it for fear of being charged with imitation. Bizet did quote a fragment of his symphony in his opera Don Procopio. (He also quoted this opera in two later operas, Les Pêcheurs de perles and La jolie fille de Perth.)
Works: Bizet: Symphony in C Major (462), Don Procopio (474), Les Pêcheurs de perles (474), La jolie fille de Perth (474). (DCB)
Index classifications: 1800s
Sharp, Mary Elizabeth. "A Survey of Musical Quotation From 1940-1975." M.M. thesis, University of Louisville, 1979.
Index classifications: 1900s
Shay, Robert. "'Naturalizing' Palestrina and Carissimi in Late Seventeenth-Century Oxford: Henry Aldrich and His Recompositions." Music and Letters 77 (August 1996): 368-400.
In the late seventeenth century, Henry Aldrich "translated" many sacred Latin compositions by Palestrina, Carissimi, Thomas Tallis, William Byrd, and others into English, for use in Anglican Church services. Aside from changing the language, Aldrich "naturalized" the Italian works by adapting the musical settings to fit into contemporary English practice. These changes included the removal of melismas, use of alternate textures, and changing modality into tonality, as well as adding choral punctuations to the motets of Carissimi. Aldrich's recompositions were inspired by the theories of imitatio that were manifest in the English educational system of the 1600s.
Works: John Aldrich: We have heard with our ears (392-94), Hold not thy tongue (394-96), I am well pleased (396-400).
Sources: Giovanni di Pierluigi da Palestrina: Doctor bonus (392-94), Nativitas tua (394-96); Giacomo Carissimi: Praevaluerunt in nos, Vidi impium (396-400). (REG)
Index classifications: 1600s
Shedlock, J. S. "Handel's Borrowings." The Musical Times 42 (July 1901): 450-52; (August 1901): 526-28; (September 1901): 596-600; (November 1901): 756.
Charles Burney, in his 1789 History of Music, appears to have been the first person to make note of Handel's borrowings. This, in turn, inspired William Crotch, in Substance of Several Courses of Lectures on Music (1831), to identify some twenty-nine composers from whom Handel borrowed. After reviewing the literature to date on the subject, examples are cited for all but six of the composers listed by Crotch. In several cases, the borrowings were not from specific composers but rather from a common repertory of familiar figures used by many composers. For the most part, Crotch feels that Handel's borrowings constitute "improvements" over the originals.
Works: George Frideric Handel: Agrippina, "L'alma mia frà le tempeste ritrover spera il suo porto" (596), Solomon, "Music spread thy voice around" (597), Solomon, "From the censer" (598), Chaconne in G (597), Susanna, "Virtue shall never long be oppressed" (598), Triumph of Time and Truth, "Comfort them, O Lord" (598), Suite in F (598).
Sources: Antonio Cesti: "Cara dolce libertà" (596); Agostino Steffani: Qui diligit Mariam (597); Henry Purcell: "Saul and the Witch of Endor" (597); Johann Sebastian Bach: Goldberg Variations (597); Johann Kuhnau: Frische Clavier Früchte, Sonata I (598), Neue Clavier-Übung (598); Antonio Lotti: Mass (Latrobe, No. 16), "Qui tollis peccata mundi" (598); Antonio Caldara: Mass a 5, "Qui tollis peccata mundi" (598); Johann Caspar Ferdinand Fischer: Fugue (598); William Croft: Musicus Apparatus Academicus, "Laurus cruentas" (598). (FC)
Index classifications: 1700s
Shirley, Wayne. "'The Second of July': A Charles Ives Draft Considered as an Independent Work." In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. Richard Crawford, R. Allen Lott, and Carol J. Oja, 391-404. Ann Arbor: University of Michigan Press, 1990.
Index classifications: 1900s
Shreffler, Anne Chatoney. "Phantoms at the Opera: The Ghosts of Versailles by John Corigliano and William Hoffman." Contemporary Music Review 20, pt. 4 (2001): 117-35.
Corigliano's opera is a prime example of camp, using allusion and quotation to present a parody-like interpretation of the history of opera. Hoffman and Corigliano have created an opera within an opera with a mixture of both fictional and historical characters. The fictional characters represent principal buffa characters from various operas by Mozart and Rossini. Corigliano creates a larger allusion to the history of opera by composing in a style that recalls the operas of Mozart, Rossini, and Verdi. At times, he even quotes from specific operas to allude to a Mozartian opera that, though it was never written, would be firmly placed in the grand history of opera between The Marriage of Figaro and Don Giovanni. This quotation of an allusion is placed into a new field of musical borrowing defined in the writings of Jean Baudrillard as simulacrum. Parody, allusion, and quotation are further supported with a cameo appearance of Marilyn Horne in a role that alludes to a previous character she popularized in the 1980s. This camp sensibility adds another dimension to Corigliano's opera as a history of the past opera and a possible future of opera.
Works: Corigliano: The Ghosts of Versailles (117-32).
Sources: Mozart: The Marriage of Figaro (117-18, 121-28); Rossini: The Barber of Seville (117, 121); Verdi: Il Trovatore (119, 121-23). (MDA)
Index classifications: 1900s
Siedentopf, Henning. "Das Motiv B-A-C-H und die Neue Musik. Dargestellt an Werken Regers, Schönbergs und Weberns." Musica 28 (September/October 1974): 420-22.
The aptitude of the B-A-C-H motive for infinite variation (unendliche Variation), its terseness and possibility to appear as part of a twelve-tone row led composers like Reger, Schoenberg, and Webern either to use it as a point of departure for or to integrate it into their composition. They thus refer to Bach, who used the motive himself and who especially in his later works also developed a great variety of forms from similarly limited material.
Works: Reger: Fantasy and Fugue Op. 46 (420-21); Schoenberg: Variations for Orchestra Op. 31 (421), Piano Suite Op. 25 (421), Moses und Aron (421); Webern: Cantata Op. 26 (421), Cantata Op. 29 (421), Quartet for Clarinet, Tenor Saxophone, Piano, and Violin Op. 22 (421), String Quartet Op. 28 (421). (AG)
Index classifications: 1900s
Siegele, Ulrich. "Kompositionsweise und Bearbeitungstechnik in der Instrumentalmusik Johann Sebastian Bachs." Ph.D. diss., University of Tübingen, 1956.
Index classifications: 1700s
Siegmund-Schultze, Walther. "Chopin und Brahms." In The Book of the International Musicological Congress Devoted to the Works of Frederick Chopin / Warsaw 16-22 February 1960, ed. Zofia Lissa, 388-95. Washaw: Pánstwowe Wydawnictwo Naukowe, 1963.
Index classifications: 1800s
Siegmund-Schultze, Walther. "Das Zitat im zeitgenössischen Musikschaffen: Eine produktiv-schöpferische Traditionslinie?" Musik und Gesellschaft 27 (February 1977): 73-78
Index classifications: 1900s
Silbiger, Alexander. "Scarlatti Borrowings in Handel's Grand Concertos." The Musical Times 125 (February 1984): 93-95.
It is well known that Handel in his Grand Concertos Op. 6 borrowed musical material from the Componimenti musicali of Gottlieb Muffat. In eight examples Handel may also have incorporated music from the Essercizi per cembalo of Domenico Scarlatti. There is no firm evidence that Handel actually saw these particular works of Scarlatti, since he and the Italian composer had no direct contact after Handel left Italy. However, the Scarlatti pieces were published in London between April 1738 and January 1739, and it seems likely that Handel would have maintained an interest in the newest works by his former colleague. Handel wrote his Concertos during September-October 1739. The similarities in themes, key, meter, phrase structure, and register together prove that Handel did see the Essercizi before the composition of several portions of his Grand Concertos.
Works: Handel: Grand Concertos Op. 6: Nos. 1, 5 (93), No. 3 (93-94).
Sources: D. Scarlatti: Essercizi per cembalo: Sonatas nos. 2, 26 (93), Sonata no. 30 (93-94), Sonata no. 15 (94); Muffat: Componimenti musicali (93-94). (PRZ/FC)
Index classifications: 1700s
Simpfendörfer, Gottfried. "Das instrumentale Choralzitat in Johann Sebastian Bachs Kantaten." Musik und Gottesdienst 47 (1993): 58-69.
Index classifications: 1700s
Sinclair, James B. Liner notes to recording of The Orchestral Music of Charles Ives, by Orchestra New England, conducted by James Sinclair. Westbury, N.Y.: Koch International 3-7025-2, 1990.
Index classifications: 1900s
Sisman, Elaine R. Haydn and the Classical Variation. Cambridge, Mass.: Harvard University Press, 1993.
Index classifications: 1700s
Sitsky, Larry. Busoni and the Piano. Westport: Greenwood Press, 1986.
Busoni's character was full of dualities, including those of musical tastes, careers (composing vs. pianistic), centuries, and hybrid vs. original works. He edited and transcribed copious works by Bach, Liszt, Mozart, and other composers, including Beethoven, Chopin, and Mendelssohn (pp. 177-294). He was attracted to Bach's art of counterpoint and structure, Liszt's piano writing, and Mozart's clarity and conciseness of form. Busoni's transcriptions manifest a synthesis of his past and future as he believed it to be (pp. 295-313). His attitudes toward transcription are tied to his ideas on notation and the "Unity of Music." He regarded transcribing as an independent art; he created totally new sounds on the piano and gave the art of transcribing a new freedom and dignity.
Works: Busoni: arrangement of Bach's Four Duets for Piano (185-86), "interpretation" of Bach's Chromatic Fantasy and Fugue (188-89), collection and completion of Bach's Fantasia, Adagio, and Fugue (189-90), Fantasia after J.S. Bach for Piano (201-204), Prelude, Fugue, and Figured Fugue after J.S. Bach's WTC (204); Liszt-Busoni: Andantino Capriccioso, Etude No. 2 after Paganini's Caprice (216), free arrangement of the Theme and Variations on Paganini's Etude No. 6 (220-224), arrangement of the Spanish Rhapsody for piano and orchestra (228-230); Mozart-Liszt-Busoni: completion of the Figaro Fantasy (235), Don Juan Fantasie (227-28); Busoni: two-piano arrangement of Mozart's Fantasy for mechanical organ (253-55), two-piano transcription of the overture to Mozart's Magic Flute (255-56), piano solo arrangement of the Andantino from Mozart's Piano Concerto, K. 271 (256-57), piano arrangement of the fugue from String Quartet K. 546 (265). (DB)
Index classifications: 1800s, 1900s
Skeris, Robert A. "Zum Problem der geistlichen Liedkontrafaktur. Überlegungen aus theologisch-hymnologischer Sicht." Kirchenmusikalisches Jahrbuch 67 (1983): 25-33.
Index classifications: General, 1500s, 1600s, 1900s
Skouenborg, Ulrik. "Elgar's Enigma: The Solution." The Music Review 43 (August/November 1982): 161-68.
The principal theme which never appears in the Enigma Variations is identified as being drawn from Brahms's Vier ernste Gesänge. The opening motive of the variations can be combined with a passage in the second song while the Nimrod tune can be combined (once a change of key is made) with a passage in tbe fourth. Other allusions which appear on the surface of the music in the variations are to Bach's Pedalexercitium (eleventh variation) and to B-A-C-H (in the Enigma theme itself) as well as to the slow movement of Beethoven's Piano Sonata, Op. 13 (ninth variation). The Enigma theme may also refer to the first of the Vier ernste Gesänge such that the Brahms was Elgar's point of departure. (DCB)
Index classifications: 1800s
Smalley, Roger. "Some Recent Works of Peter Maxwell Davies." Tempo, no. 84 (Spring 1968): 2-5.
Davies is praised for his use of gesture and for his uninhibited re-use of music of the past, especially that of the medieval period. The existing music that he incorporates becomes increasingly obvious to the ear as his style matures. In his early works, he obscures the borrowed material by fragmentation, serial procedures, and complex canonic techniques. The borrowed material begins to be readily audible with Antechrist. In this work, the 13th-century motet, Deo confitemini, is reorchestrated and stated boldly at the outset. The juxtaposition of it with completely original music of Davies within a single work provides the key to the composer's originality.
Works: Davies: Alma Redemptoris Mater (3), Shakespeare Music (3), St. Michael (3), Ecce Manus Tradentis (3), Taverner Fantasias (3), Antechrist (3), L'Homme Armé (3-4). (AW)
Index classifications: 1900s
Smend, Friedrich. Bach in Köthen. Translated by John Page. Edited and revised with annotations by Stephen Daw. St. Louis: Concordia Publishing House, 1985.
Index classifications: 1700s
Smend, Friedrich. "Bachs Himmelfahrts-Oratorium." In Bach Gedenkschrift 1950 im Auftrag der Internationalen Bach-Gesellschaft, ed. Karl Matthaei, 42-65. Zurich: Atlantis Verlag, 1950.
Index classifications: 1700s
Smend, Friedrich. "Bach's Markus-Passion." Bach-Jahrbuch 37 (1940-48): 1-35. Chap. in Bach-Studien. Edited by Christoph Wolff. Kassel: Bärenreiter, 1969.
Index classifications: 1700s
Smend, Friedrich. Johann Sebastian Bach: Kirchen-Kantaten. Berlin: Christlicher Zeitschriftenverlag, 1966.
Index classifications: 1700s
Smith, Christopher. "'Broadway the Hard Way': Techniques of Allusion in Music by Frank Zappa." College Music Symposium 35 (1995): 35-60.
The album Broadway the Hard Way is a prime example of Frank Zappa's use of quotation and allusion to generate and alter meaning within his works. Zappa accomplishes this by invoking what he refers to as "Archetypal American Musical Icons." These icons are commonly known, readily recognizable material from American mass culture, such as the theme from The Twilight Zone or The Battle Hymn of the Republic, and carry with them connotations and associations that Zappa then manipulates to expressive ends. The associations carried with "Archetypal American Musical Icons" are deliberately invoked to create a subtext within a song that supplements and generates meaning. Zappa will also often alter a song's original meaning by adding style allusions and quotations to create a new subtext, a procedure referred to as "putting the eyebrows on it." An appendix outlines borrowings and allusions in portions of Rhymin' Man, Promiscuous, and Jesus Thinks You're a Jerk.
Works: Zappa: Dickie's Such an Asshole (40-41), When the Lie's So Big (42), What Kind of Girl? (42), Jesus Thinks You're a Jerk (43-44, 57-58), Rhymin' Man (44-48, 53-54), Promiscuous (49, 55-56).
Sources: William Steffe: Battle Hymn of the Republic (40-44); Marius Constant: Theme from The Twilight Zone (44-48, 53, 57); Lalo Schifrin: Theme from Mission Impossible (44-48, 53); Hava Nagilah (44-48, 54); Hail to the Chief (44-48, 54); La Cucaracha (44-48, 54); Julius Fucík: March of the Gladiators (44-48, 54, 57); Milton Ager: Happy Days are Here Again (44-48, 54); Frère Jacques (53-54); Ennio Morricone: Theme from The Untouchables (53); Berton Averre and Doug Fieger [The Knack]: My Sharona (54); Rock of Ages (57-58); Dixie (57-58); Richard Berry: Louie Louie as peformed by The Kingsmen (58). (SLF)
Index classifications: 1900s, Popular
Smith, Julia. "Aaron Copland, His Work and Contribution to American Music: A Study of the Development of His Musical Style and an Analysis of the Various Techniques of Writing He Has Employed in His Works." Ph.D. diss., New York University, 1952.
Index classifications: 1900s
Smith, Norman E. "The Earliest Motets: Music and Words." Journal of the Royal Musical Association 114 (1989): 141-63.
In the discussion of the relationship between the clausula and the motet, a systematic study of notational practice, particularly with regard to fractio modi, has often been lacking. Using clausula-motet pairs in Florence, Biblioteca Medicea Laurenziana, Pluteus 29.1, motets in first rhythmic mode that have a corresponding clausula are considered. The Latin motets show exceptional musical fidelity to the melismatic originals, but the motets gain flexibility in syllabification by use of fractio modi in the source clausula. Tables compare the motet and clausula sources, and list all instances of fractio modi within the study group. Rhythmic alterations were sometimes made to the source clausula, usually by the introduction of semibreve pairs or by shifting groups of three breves forward by one perfection.
Works: Christe via veritas (151-54); Gaude Syon filia (155-6); Stirps Iesse--Virga cultus (155, 158); Doceas hac die (158-59); Radix venie (158, 160); Immolata paschali victima (160-63).
Sources: Adiutorium no. 2 (147-54); Et Iherusalem no. 2 (155-56); Flos filius eius (a3) no. 3 (155, 158); Docebit no. 1 (158-59); Immolatus est (a3) no. 1 (158-63). (FC)
Index classifications: Polyphony to 1300
Smith, Norman E. "Tenor Repetition in the Notre Dame Organa." Journal of the American Musicological Society 19 (Fall 1966): 329-51.
The practice of tenor repetition in Notre Dame organa marks the first time in which the existing chant is manipulated for the purpose of an artistic goal. The practice probably began with the simple addition of a new clausula to an existing one; sometimes these new clausulae may also exist independently. In this practice, the break between the repetitions was simultaneous and obvious. Later, composers began to manipulate the length, mode, and starting point of the tenor, in a way that resembles isorhythm. The duplum was written to be continuous across tenor repetitions.
Works: Organum (numbering from Friedrich Ludwig, Repertorium organorum recentioris et motatorum vetusissimi stili): M12: Alleluia: Adorabo ad templum, (329-31), M 37: Propter veritatem (332-33, 336), M 33: Alleluia: Assumpta est Maria (333, 336), O 16: Styrps Yesse (333), M 40: Timeta dominum (339), M 5: Exiit sermon (343), M 1: Viderunt omnes (343), M 25: Alleluia: Spiritus sanctus procedens (344), M 34: Alleluia: Hodie Maria virgo (345), M 49: Alleluia: Letabitur Justus in domino (347); Clausulae: Adorabo nos. 1-3(329-30), Sanctum tuum nos. 1-3 (340-41), Et confitebor nos. 1-10 (330-31, 344-45), Aurem tuam nos. 1-3 (332-33, 336), Angeli (336), Potentem nos. 1-3 (336-37), Non deficient nos. 1-2 (339-41), Nobis no. 2 (342), Donec veniam (343), Omnes no. 10 (343-44), Hodie perlustravit no.1 (344), Regnat (345-46), Et sperabit nos. 1-2 (347-51). (FC)
Index classifications: Polyphony to 1300
Smith, Warren Storey. "Gustav Mahler (1860-1960) as 'Song-Symphonist': Song is the Basic Element of the Vast Symphonic Structures Mahler created." Musical America 80 (February 1960): 10, 174.
Not only the symphonies with actual voice parts but also many others borrow from Mahler's song cycles. Smith identifies the borrowings and emphasizes not only their importance for the interpretation, but also the key position of their musical material. The song elements appear as the pillars of the whole work.
Works: Mahler: Symphony No. 1, Symphony No. 2, Symphony No. 3, Symphony No. 4, Symphony No. 5, Symphony No. 6, Symphony No. 7. (AG)
Index classifications: 1800s, 1900s
Smith, Warren Storey. "Mahler Quotes Mahler." Chord and Discord 2, no. 7 (1954): 7-13.
Most of the songs which Mahler incorporated into his symphonies were originally written with orchestral accompaniment (rather than piano). Unlike Schubert, who used vocal themes as bases for variations in some movements of his instrumental works, Mahler never quoted a song for the specific purpose of writing variations. Instead, the material directly influences the melodic structure and content of the symphonies, particularly the first five, through the literal quotation of entire themes and motives.
Works: Schubert: Wanderer Fantasy; Trout Quintet; Death and the Maiden; String Quartet in D Minor; Octet in F Major (based on the air "Gelagert unter'm hellen Dach der Bäume," from the operette Die Freunde von Salamanka); Fantasy in C Major for violin and piano (based on Sei mir Gegrüsst); Introduction and Variations for piano and flute, Op. 160 (based on Trock'ne Blumen); Mahler: "Ging heut' morgen über's Feld" and "Die zwei blauen Augen von meinem Schatz" from Lieder eines fahrenden Gesellen; "Das Himmlische Leben," "Des Antonius von Padua Fischpredigt," "Ablösung in Sommer," "Es sungen drei Engel," "Lob des hohen Verstandes," "Um schlimme Kinder artig zu machen," and "Nicht Wiedersehen" from Lieder aus des Knaben Wunderhorn; "Nun will die Sonn' so hell aufgeh'n" and "Nun seh' ich wohl, warum so dunkle Flammen" from Kindertotenlieder; Symphonies 1-7. [??]
Index classifications: 1800s, 1900s
Smyth, David. "Wagner and Schoenberg: Probing a Case of Musical Influence." Paper read at the Southern Chapter meeting of the AMS, Florida State University, 12 March 1988.
Index classifications: 1900s
Snow, Robert. "The Mass-Motet Cycle: A Mid-Fifteenth Century Experiment." In Essays in Musicology in Honor of Dragan Plamenac on His 70th Birthday, ed. Gustave Reese and Robert J. Snow, 301-20. Pittsburgh: University of Pittsburgh Press, 1969.
A number of surviving manuscripts contain masses with a motet based on the same musical material included at the end of the cycle. While it is easy to assume that these masses are merely parody masses based on the accompanying motet, it appears instead that these are examples of masses and motets conceived simultaneously. Unity is achieved primarily through the use of a common tenor and/or head motive that occurs throughout, with similarities in remaining voices varying greatly from one example to another. The six positively identified examples of the mass-motet cycle all exist in manuscripts located in southern Germany, and many of the compositional traits in each mass suggest the influence of the continental English composers working in Germany in the first half of the fifteenth century. Given the few extant examples of the mass-motet cycle, it is likely that its popularity was limited due to the lack of liturgical function associated with the motet.
Works: Anonymous: Missa O rosa bella, O pater eterne (303-5); Philipus: Missa Hilf und gib rat, O gloriosa mater cristi maria (305-6); Anonymous: Missa Esclave puist yl, Gaude maria virgo (307-8); de Rouge: Missa Soyez aprantiz (309-10); Anonymous: Stella coeli extirpavit (309-10); Anonymous: Missa Meditatio cordis, Gaude maria virgo (309); Frye: Missa Summe trinitati (310); Anonymous: Salve virgo mater pia (310).
Sources: Dunstable: O rosa bella (303); Binchois: Esclave puist yl (307); Frye: So ys emprentid (309); Gregorian Chant: Meditatio cordis (309), Summae trinitati (310). (SW)
Index classifications: 1400s
Solomon, Maynard. "Charles Ives: Some Questions of Veracity." Journal of the American Musicological Society 40 (Fall 1987): 443-70.
Index classifications: 1900s
Sondheimer, Robert. Haydn: A Historical and Psychological Study. London, 1951.
[Suggests Haydn borrowed from Stamitz, Beck, Boccherini, and others. Challenged by Jan LaRue, "Significant and Coincidental Resemblance Between Classical Themes," Journal of the American Musicological Society 14 (Summer 1961): 224-34.]
Index classifications: 1700s
Sonntag, Brunhilde. "Die Marseillaise als Zitat in der Musik: Ein Beitrag zum Thema 'Musik und Politik.'" In "Nach Frankreich zogen zwei Grenadier": Zeitgeschehen im Spiegel von Musik, ed. Brunnhilde Sonntag, 22-37. Munster: Lit, 1991.
Index classifications: 1800s, 1900s
Sonntag, Brunhilde. Untersuchungen zur Collagetechnik in der Musik des 20. Jahrhunderts. Regensburg: Gustav Bosse Verlag, 1977.
Index classifications: 1900s
Southern, Eileen. The Music of Black Americans: A History. New York: W. W. Norton, 1977.
[Need annotation for discussions of borrowings within African-American tradition.] Within the context of her comprehensive volume on the musical tradition of black Americans, Southern briefly discusses the use by white Europeans and Americans of specific music and of musical styles of black Americans. She focuses on ragtime (pp. 331-32), jazz (pp. 395-97), and rhythm-and-blues (pp. 498-500).
Works: Debussy: Children's Corner (331-32); Stravinsky: Piano-Rag Music (331-32), Ragtime (331-32), L'Histoire du Soldat (331-32); Satie: Parade (331-32); Hindemith: Piano Suite (1922) (331-32); Carpenter: Concerto for Piano and Orchestra (1916) (331-32), Krazy Kat (395-97), Skyscrapers (395-97); Krenek: Johnny spielt auf (395-97); Milhaud: La Création du Monde (395-97); Ravel: Piano Concerto in D (1931) (395-97); Walton: Façade (395-97); Stravinsky: Ebony Concerto for Dance Orchestra (395-97); Copland: Music for the Theater (395-97), Concerto for Piano and Orchestra (1927) (395-97); Gershwin: Rhapsody in Blue (395-97), Concerto in F (1925) (395-97), An American in Paris (395-97). (SR)
Index classifications: 1800s, 1900s, Popular
Spada, Marco. "Elisabetta, regina d'Inghilterra di Gioachino Rossini: fonti letterarie e autoimprestito musicale." Nuova rivista musicale italiana 24 (1990): 147-82.
All numbers of Rossini's Elisabetta, regina d'Inghilterra (Naples, 1815) are borrowed from his previous operas with the exception of only one totally original piece. Most of the reused music was selected from the best material from Aureliano in Palmira and Sigismondo, which were previous fiascoes in other cities, but Rossini also borrowed from Ciro in Babilonia and the Cantata Edipo Coloneo. In spite of the numerous self-borrowings, Elisabetta cannot be considered a simple pastiche, since Rossini reworked all the reused materials and achieved a balance between dramatic and musical time in the opera, which became the first great success of his Naples's period. It seems that Rossini chose the borrowed material according to the following criteria: (1) themes with similar dramatic function; (2) texts with similar metrical structure; and (3) identical tonal settings. Likewise the libretto of Elisabetta by Giovanni Schmidt is shown to have been modeled upon the play Il paggio di Leicester by Carlo Frederici (Naples, 1813), which was derived from an English play by Sophia Lee and not from a romance by Sir Walter Scott as asserted by previous biographers. (LFL)
Index classifications: 1800s
Spanke, Hans. "Das öftere Auftreten von Strophenformen und Melodien in der altfranzösischen Lyrik." Zeitschrift für französische Sprache und Literatur 51 (1928): 73-117.
Index classifications: Monophony to 1300
Sparks, Edgar H. Cantus Firmus in Mass and Motet, 1420-1520. Berkeley and Los Angeles: University of California Press, 1963.
Index classifications: 1400s, 1500s
Spector, Irwin. "John Taverner and the Missa Gloria tibi Trinitas." The Music Review 35 (November 1974): 217-22.
In the years following Parliament's approval of the Act of Supremacy in 1534, strong restrictions were placed on composers of Latin music in England. This obstacle may have encouraged many musicians to focus their attention on instrumental music. Even though John Taverner never composed any instrumental music, his Missa Gloria tibi Trinitas had a strong effect on the rise of consort music in England in the second half of the sixteenth century. The Mass is based on the antiphon Gloria tibi Trinitas, which is heard in the medius voice throughout each of the four movements. The opening of each movement also contains a head motive. This motive begins with a rising minor third, which refers to the opening interval of the original plainsong. Transcriptions of one section of the Sanctus appear in many manuscripts, with different instrumentation. This In Nomine section, named after the text of the original passage in Taverner's Mass, can be found in arrangements for keyboard, viols, and voice and lute. The Mulliner Book, for example, includes a keyboard arrangement from Taverner's Mass as well as compositions by Allwood, Johnson, and others, which were derived from Taverner's setting.
Works: John Taverner: Missa Gloria tibi trinitas (218-22).
Sources: Antiphon: Gloria tibi Trinitas (218-22). (REG)
Index classifications: 1500s
Spinosa, Frank. "Beethoven and Bartók: A Comparative Study of Motivic Techniques in the Later Beethoven Quartets and the Six String Quartets of Bela Bartók." D.M.A. diss., University of Illinois, 1969.
Index classifications: 1900s
Spitz, Charlotte. "Die Opern Ottone von G. F. Händel (London 1722) und Teofane von A. Lotti (Dresden 1719); ein Stilvergleich." In Festschrift zum 50. Geburtstag Adolf Sandberger überreicht von seinen Schülern, ed. Alfred Einstein, Theodor Kroyer, Carl August Raw, Gustav Friedrich Schmidt, Gottfried Schulz, Otto Ursprung, and Bertha Antonia Wallner, 265-271. Munich: Ferdinand Zierfuss, 1918.
Index classifications: 1700s
Spitzer, John. "Authorship and Attribution in Western Music." Ph.D. diss., Cornell University, 1983.
Index classifications: General
Stäblein, Bruno. "Eine Hymnusmelodie als Vorlage einer provenzalischen Alba." In Miscelánea en homenaje a Monseñor Higinio Angles, ed. Miguel Queirol, J. M. Llorens and J. Romeu Figueiras, 889-94. Barcelona: Consejo de Investigaciones Científicas Figueras, 1958.
Index classifications: Monophony to 1300
Staehelin, Martin. Die Messen Heinrich Isaacs. 3 vols. Bern und Stuttgart: P. Haupt, 1977.
Index classifications: 1400s, 1500s
Stanley, Glenn. "Bach's Erbe: The Chorale in the German Oratorio of the Early Nineteenth Century." 19th-Century Music 11 (Fall 1987): 121-49.
The inclusion of chorales in nineteenth-century oratorios provided a religious aura to these works even when performed in a concert setting. Furthermore, the chorale was seen as the epitome of Protestant music, and by extension German culture, thus taking on a nationalistic character as well. Composers drew from various chorale collections published in the eighteenth century for their source material. Because these collections included new chorales as well as old ones, the source materials represented a variety of musical styles. Mendelssohn's St. Paul consciously drew on Bach's St. Matthew Passion as a pattern for the use of chorales, but Mendelssohn uses fewer of them, and they differ in style and function from Bach. Mendelssohn also realized that his oratorios were concert music, not liturgical music. By contrast, Friedrich Schneider intended his Gethsemane und Golgotha to be a true liturgical work, including congregational participation in the chorales. Even works without chorales, such as Spohr's Des Heilands letzte Stunden, often included movements designed textually and musically to evoke the chorale.
Works: Carl Loewe: Das Sühnopfer des neuen Bundes (124, 134-35, 139-40); Heinrich Elkamp: Paulus (124-25); Carl Heinrich Graun: Der Tod Jesu (126-27); Felix Mendelssohn: St. Paul (127-31); Friedrich Schneider: Gethsemane und Golgotha (132-33); Carl Loewe: Die sieben Schläfer (137), Die Zerstörung von Jerusalem (137-38), Johann Huss (140-41).
Sources: Chorales: Schmucke dich O liebe Seele (124), Herzliebster Jesu (127, 132), Dir Herr will ich mich ergeben (128-29), Allein Gott in der Höh sei Her (128), Wachet auf (128-31, 132-22), O Jesu Christe, wahres Licht (128-29), Wir glauben all an einem Gott (128), O Haupt voll Blut und Wunden (132, 136), O Lamm Gottes (132), Aus tiefer Noth (132), Herr Jesu Christ mein Lebens Licht (132), Wie lieblich ist O Herr die Stätte (132), Erscheinen ist der herrlich Tag (137), Jesus meine Zuversicht (138), Grosser ist, o grosser Gott (139) Was mein Gott will, das gesheh allzeit (140-41); Carl Philipp Emanuel Bach: Geistliche Oden und Leider mit Melodien (124-25). (FC)
Index classifications: 1700s, 1800s
Starr, Lawrence. "Copland's Style." Perspectives of New Music 19 (Fall-Winter 1980-81): 68-89.
Copland's music defies traditional demarcations of style. Rather than being defined by function, genre, or chronology, Copland's style results from unities of compositional procedure in apparently dissimilar works. The subtle rhythmic, harmonic, and motivic techniques in Piano Variation can also be found in Billy the Kid, which uses compositional complexities to create a simple surface into which quoted cowboy tunes fit perfectly. Copland creates the folksong anew in order to demonstrate the aesthetic distance between the American past and contemporary life. His folk borrowings, like Stravinsky's, thus have the affect of musical commentary of one repertoire upon another.
Works: Copland: Vitebsk (71), Billy the Kid (77-81), El salón México (81-82). (EB)
Index classifications: 1900s
Starr, Lawrence. "The Early Styles of Charles Ives." 19th-Century Music 7 (Summer 1983): 71-80.
Ives's early works display a remarkable coexistence of pieces in conservative and radical styles. However, his interest in emulating and quoting European composers can be seen not only in the conservative works written for courses at Yale, such as the First Symphony, of which the scherzo is modeled on the corresponding movement from Beethoven's Ninth Symphony, but also in those from before and after his formal study, such as the Slow March from 114 Songs where Ives quotes from Handel's Saul.
Works: Ives: Symphony No. 1 (76), Slow March (79). (AG)
Index classifications: 1800s
Starr, Lawrence. A Union of Diversities: Style in the Music of Charles Ives. New York: Schirmer Books, 1992.
Index classifications: 1900s
Steele, Timothy H. "The Latin Psalm Motet, ca. 1460-1520: Aspects of the Emergence of a New Motet Type." Ph.D. diss., University of Chicago, 1993.
Index classifications: 1400s, 1500s
Stehman, Dan. Roy Harris: An American Musical Pioneer. Boston: Twayne Publishers, 1984.
Roy Harris was a prolific borrower of folk songs. Stehman treats Harris's work in chronological order and in divisions by genre, so references to borrowing can be found throughout the book. However, Stehman makes no attempt to differentiate between stylistic allusion, specific quotation, and simple arrangements. Several pieces are treated in more extended discussions, and these include explanations of how the folk songs are borrowed in the works. The Folksong Symphony serves as one of the examples of borrowing, as each of the seven movements draws on one or more folk melodies. This piece for orchestra and chorus involves some extensive manipulations of borrowed tunes, including fragmentation, canon, and fantasia-like effects. Harris's Tenth Symphony also makes use of a folk tune, as the third movement is based on When Johnny Comes Marching Home. Harris's only violin sonata is an example of his ability to use folk materials in an abstract way; the tune I'll Be True to My Love is subjected to development and variations. Stehman also discusses Harris's self-borrowing (187) and his use of folk music in pieces for solo piano (225-26) without going into detail about any one work.
Works: Harris: Folksong Symphony (72-79), Tenth Symphony (124-31), Pere Marquette Symphony (137-44), Violin Sonata (210-11). (JS)
Index classifications: 1900s
Steib, Murray. "A Composer Looks at His Model: Polyphonic Borrowing in Masses from the Late Fifteenth Century." Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 46 (1996): 5-41.
In the second half of the fifteenth century, many composers from both France and Italy were experimenting with polyphonic quotation. An examination of the masses of three composers shows the different ways in which polyphonic borrowing was accomplished. Johannes Martini tended to quote both cantus firmus and other polyphonic voices literally. Heinrich Isaac paraphrased cantus firmus and other voices of the models, often using entire phrases but freely changing the vertical alignment as well as the melodic content. Josquin des Prez mixed literal and paraphrased borrowings, usually using less than an entire phrase worth of material. In terms of borrowing techniques, it is very unlikely that the anonymous Missa O rosa bella III was composed by Martini, as Reinhard Strohm has suggested.
Works: Johannes Martini: Missa Ma bouche rit (6-7, 10-11), Missa La martinella (6-10); Heinrich Isaac: Missa Comme femme desconfortée (11-18); Josquin des Prez: Missa Fortuna desperata (18-22); Anonymous: Missa O rose bella III (23-24).
Sources: Johannes Ockeghem: Ma bouche rit (7, 10-11); Johannes Martini: La martinella (9-10); Gilles Binchois: Comme femme desconfortée (13-18); Antoine Busnois: Fortuna desperata (18-22); John Bedyngham: O rose bella (23-24). (FC)
Index classifications: 1400s
Steib, Murray. "Imitation and Elaboration: The Use of Borrowed Material in Masses from the Late Fifteenth Century." Ph.D. dissertation, University of Chicago, 1992.
Index classifications: 1400s
Steib, Murray. "Loyset Compère and His Recently Discovered Missa De tous biens plaine." Journal of Musicology 11 (Fall 1993): 437-54.
A Missa De tous biens plaines, one of six mass settings based on Hayne's chanson of the same name, is found in five sources with conflicting attributions. The cantus firmus is quoted almost literally throughout, varying only at approaches to a cadence, and phrases taken from the chanson are frequently split in the middle of a phrase, rather than at a cadence. While this technique is unusual in fifteenth-century practice, it can be found in several masses by Compère. A comparison of this work to Compère's masses, and specifically to his Missa Ominum bonorum plena, reveals additional similarities in compositional approach. Besides being based on the same chanson, both the Missa De tous biens plaines and the Missa Ominum bonorum plena feature a simplicity of cantus firmus setting not found in Compère's other masses, and both have distinctly Marian associations. These similarities suggest that the two masses were composed at approximately the same time, and that both can be convincingly attributed to Compère.
Works: Compère: Missa De tous biens plaine (437-54), Missa Alles regrets (448-50), Missa L'homme armé (448-49), Missa Ominum bonorum plena (448-54).
Sources: Hayne van Ghizeghem: De tous biens plaine (438). (SW)
Index classifications: 1400s
Steinecke, Wolfgang. Das Parodieverfahren in der Musik. Kieler Beiträge zur Musikwissenschaft, 1. Wolfenbüttel: Kallmeyer, 1934. Reprinted as Die Parodie in der Musik. Wolfenbüttel: Möseler, 1970.
Index classifications: General
Steinitz, Richard John. "George Crumb." The Musical Times 119 (October 1978): 844-47.
This article is designed primarily to introduce the music of Crumb to its English readership on the occasion of Crumb's appearance at the Huddersfield Contemporary Music Festival. The author discusses Crumb's use of quotation on two levels: (1) the art of allusion to other works or styles, and (2) actual quotation. Crumb's use of quotation is primarily seen as the inclusion of tonal elements in atonal surroundings to give them new meaning. Steinitz describes these quotations as "in major keys of either several sharps or flats whose comforting warmth contrasts with the hard-edged or bleakly desolate surroundings" (p. 845).
Works: Crumb: Eleven Echoes of Autumn, Black Angels, Voice of the Whale, Makrokosmos I, Makrokosmos II, Night of the Four Moons, Music for a Summer Evening. (WPS)
Index classifications: 1900s
Stempel, Larry. "Not Even Varèse Can Be an Orphan." The Musical Quarterly 60 (Summer 1974): 46-61.
Despite Varèse's claims to being entirely independent-minded, an early mélodie not intended for publication, Un grand sommeil noir, shows distinct traces of being composed with forebears in mind. Fauré, Hahn, and Debussy all set texts by Paul Verlaine, and Dirk Foch, Raoul Laparra, and Gustave Sandrew set the text of Un grand sommeil noir, but it was Debussy's L'Ombre et arbres that Varèse used as a model for his setting. Both settings make use of the octatonic scale and of a matrix of a half step followed by a tritone, a pitch set that would also appear in Varèse's Arcana. The final measures of Varèse's mélodie are an exorcism of Debussy from his own style, accomplished by harking back to the end of Act IV of Pelléas et Mélisande.
Works: Varèse: Un grand sommeil noir (53-61), Arcana (56-57).
Sources: Debussy: Ariettes Oubliées (57), L'Ombre et arbres (57-59), Pelléas et Mélisande (61). (MEG)
Index classifications: 1900s
Stephan, Rudolf. Gustav Mahler: II. Symphonie c-moll. Munich: W. Fink, 1979.
Index classifications: 1800s
Stephan, Rudolf. Gustav Mahler: IV. Symphonie G-Dur. Munich: W. Fink, 1966.
Index classifications: 1900s
Stephan, Rudolf. Gustav Mahler: Werk und Interpretation. Cologne: Arno Volk, 1979.
Index classifications: 1800s, 1900s
Stephan, Rudolf. "Zum Thema 'Bruckner und Mahler.'" In Beiträge '79-80. Gustav Mahler Kolloquium 1979: Ein Bericht, ed. Österreichische Gesellschaft für Musik, 76-83. Kassel: Bärenreiter, 1981.
Bruckner's influence led twice to a qualitative change in Mahler's career as a composer of symphonies, first in the Second and later in the Ninth Symphony. Stephan discusses correspondences of melody (remarkably similar thematic material), formal concepts (structure of the exposition, false reprise), use of chorale, and dispositions of sound. Stephan even raises the question whether the listener has to keep Bruckner's works in mind in order to understand Mahler adequately.
Works: Mahler: Symphony No. 2 (Resurrection), Symphony No. 5, Symphony No. 9. (AG)
Index classifications: 1800s, 1900s
Stephan, Rudolf. "Zum Thema 'Musik über Musik.'" In Studia Musicologica: aesthetica, theoretica, historica, ed. Elzbieta Dziebowska, Zofia Helman, Danuto Idaszak, and Adam Neuer, 395-404. Crakow: Polskie Wydawnictwo Muzycyne, 1979.
Discusses the methodological change in making "music about music" which was introduced by Stravinsky around 1920. The concept of creating an updated and/or "improved" setting for familiar thematic material is exemplified here by Baroque practice and related to the late eighteenth- and nineteenth-century vogue involving both salon pieces and serious variation sets and fantasies. The musical goal of all such works, that is, the exhibition of artistry through inventive development of recognizable material, finds its inversion in the trend, eventually termed Neo-Classicism, of the twentieth-century. Therein new thematic materials, and even new musical languages, could be introduced by placing them within recognizable, traditional structural frameworks.
Works: Bach: Ich hatte viel Bekümmernis, BWV 579, Organ Pieces on Themes by Corelli, BWV 579, Organ Pieces on Themes by Legrenzi, BWV 574; Brahms: Variations on a Theme by Handel, Variations on a Theme by Haydn; Fortner: Elegies for Piano; Hindemith: Ludus Tonalis, Neues vom Tage; Reger: Prelude and Fugue in G Major for Violin Solo, Op. 117, No. 5, String Trio in A Minor, Op. 77b; Stravinsky: Piano Sonata (1924), Pulcinella. (AW)
Index classifications: General, 1700s, 1800s, 1900s
Sternberg, Constantin von. "On Plagiarism." The Musical Quarterly 5 (July 1919): 390-97.
This article provides an interesting perspective with regard to the early twentieth-century attitude toward musical borrowings. Sternberg argues that musical borrowings are a legitimate compositional device employed by a number of great composers. The issue of emulation and competition is also addressed. Although Sternberg asserts that "stealing is stealing," musical borrowing is established as a long-standing compositional tradition, and Sternberg remains inconclusive as to whether or not this tradition should be defined as plagiaristic.
Works: Bizet: Carmen (391); Schumann: "The Happy Farmer," from Album for the Young (392); Mendelssohn: Symphony No. 3 (392); Wagner: Lohengrin (392); Schubert: Atlas (393); Liszt: Les Préludes (393). (LAR)
Index classifications: General, 1800s
Sterne, Colin. "The Quotations in Charles Ives's Second Symphony." Music and Letters 52 (January 1971): 39-45.
An analysis of Ives's Second Symphony reveals quotations both from the European Classical tradition and form American tunes. One of the latter, "Down in the cornfield," an excerpt from Stephen Foster's Massa's in de cold ground, appears more often than any other, and Sterne interprets it on four levels. First, it portrays an American landscape; second, it recalls memories of Ives's youth; third, this and all the other American tunes represent Ives setting himself apart from the European tradition and his teacher Horatio Parker in particular, symbolized by the European themes; finally, the text of Massa's in de cold ground tells us of Massa's death, which Sterne interprets as Ives declaring the death of the European symphonic tradition. (AG)
Index classifications: 1900s
Sternfeld, Frederick W. "The Melodic Sources of Mozart's Most Popular Lied." The Musical Quarterly 42 (April 1956): 213-22.
Mozart heard Bach's motet Singet dem Herren ein neues Lied in 1789. The chorale "Nun lob mein Seel den Herren" is prominent in this motet. The history of this chorale melody is discussed. Bach himself used the melody in some ten works (listed on pp. 216-17). Mozart may have known several of these works besides the motet which he certainly heard and another he may have heard; four of the works were published during his lifetime. The melody of lines 6-7 of "Nun lob mein Seel den Herren" as set in Singet dem Herren largely corresponds to the beginning of Papageno's Lied "Ein Mädchen oder Weibchen" in Die Zauberflöte. (The melody has also been discovered in Haydn's Mondo della Luna.) The strong impression made upon Mozart by Bach's music (evident in Mozart's increased interest in counterpoint in several works) is here made manifest in the form of a quotation.
Works: Bach: Cantata No. 17, Cantata No. 28,Cantata No. 29, Cantata No. 51, Cantata No. 167, Motets Singet dem Herrn and Sei Lob und Preis mit Ehren, Chorales Nun lob, mein Seel, den Herren (BWV 389) and Nun lob, mein Seel, den Herren (BWV 390), Organ Prelude Nun lob, mein Seel, den Herren (BWV, Anhang, No. 60); Mozart: Die Zauberflöte. (DCB)
Index classifications: 1700s
Sternfeld, Frederick W. "Some Russian Folksongs in Stravinsky's Petrouchka." Notes 2 (March 1945): 95-107.
Stravinsky's ballet Petrouchka contains authentic Russian folk melodies. Five can be identified based on counterparts in four Russian folk song collections (listed in a bibliography). Ironically, the familiar composers Tchaikovsky, Balakirev, and Rimsky-Korsakov produced less authentic folk song anthologies than did scholars such as Melgunov, Istomin and Diutsch, and Lineva, since the composers were tempted to "improve" on the originals. Stravinsky did not necessarily consult these collections, but these models facilitate understanding and acknowledgment of borrowings. The songs Stravinksy used come from both Christian and pagan traditions. The "Song of the Volochebniki," traditionally sung at Easter, occurs in the first and fourth tableaux and is found in the Rimsky-Korsakov collection. The rare "Song for St. John's Eve," from the Istomin and Diutsch collection, occurs in the first tableau. The fourth tableau also contains "Ia vechor moloda," a popular dance song found in the Rimsky-Korsakov collection, as well as "O Snow Now Thaws" (about soup and love) from the Prokunin-Tchaikovsky collection and "Akh vy sieni, moi sieni" (about a happy bride) from the Swerkoff collection.
Works: Stravinsky: Petrushka. (BP/DB)
Index classifications: 1900s
Sternfeld-Friedenau, Richard. "Musikalische Citate und Selbstcitate." Die Musik 2, no.24 (1903): 429-42.
Establishing whether a musical quotation is deliberate or whether it is an unconscious reminiscence is not simple. Quotation may take various forms, including variations, where it is well-disguised. It may be used for many different purposes--to convey emulation, to enhance the plot of a drama, to add textual significance, for symbolic significance, and for popular appeal. Self-quotation may take the form of organic motivic quotation.
Works: Beethoven: Missa Solemnis, Op. 123 (430), Diabelli Variations (431); Peter Cornelius: Beethoven-Lied for mixed choir, Op. 10 (431); Gluck: Orfeo ed Euridice (431); Mozart: Bastien et Bastienne (431); Don Giovanni (431), Die Zauberflöte (431). (CMC)
Index classifications: General, 1700s, 1800s
Steude, Wolfram. "Neue Schütz-Ermittlungen." Deutsches Jahrbuch der Musikwissenschaft 12 (1967): 40-74.
Index classifications: 1600s
Stevens, Jane R. "The 'Piano Climax' in the Eighteenth-Century Concerto: An Operatic Gesture?" In C. P. E. Bach Studies, ed. Stephen L. Clark, 245-76. Oxford: Clarendon Press, 1988.
Denis Forman's claim that J. C. Bach transferred certain stylistic devices of opera to his piano concertos is an uncritical assumption. In his study of Mozart piano concertos, Forman argues that the virtuosic solo passage which occurs at the end of the first solo section--the "piano climax"--is essentially a musical device particular to da capo aria, conceived and developed in opera first and transferred to concerto later. He believes that this transfer was first made by J. C. Bach, in two of his concertos published in 1763, which subsequently influenced young Mozart. A study of the keyboard concertos of C. P. E. Bach shows that he used a similar kind of cadential passage as early as the 1720s, under the influence of J. S. Bach and contemporary Italian opera composers. Transferring musical devices from one genre to another is an oversimplified theory. Knowing that J. C. Bach studied with C. P. E. Bach, it is equally unlikely that J. C. Bach discovered the "piano climax" in the aria and simply transferred it to an instrumental genre.
Works: Mozart: Piano Concerto No. 25 in C Major, K. 503 (245-52), "Se il tuo duol" from Idomeneo (253-54); J. C. Bach: Keyboard Concerto in B-flat Major, Op. 1, No. 1 (255-56), Keyboard Concerto in F Minor, Op. 1, No. 2 (257-58, 260-61), "Trafiggero quell core" from Allesandro nell'Indie (259); Vivaldi: Concerto in G Minor, Op. 4, No. 6 (263-65); C. P. E. Bach: Keyboard Concerto in E-flat Major, H. 404 /Wq. 2 (264-67), Keyboard Concerto in B-flat Major, H. 413/Wq. 10 (267-68); Hasse: "Corre al cimento ardita" from Armino (267-69); C. P. E. Bach: Keyboard Concerto in A Major, H. 411/Wq. 8 (270-71), Keyboard Concerto in C Minor, H. 441/Wq. 31 (273-75). (TC)
Index classifications: 1700s
Stevenson, Ronald. "Delius's Sources." Tempo, no. 151 (December 1984): 24-27.
The influence of Chopin on Delius is illustrated by the appearance of a particular dominant 13th chord from Chopin's Waltz in E minor in Delius's Sea Drift . Delius's affinity for added-note harmonies may stem from the richly-spaced dominant 9th and added 6th chords of the E major trio of the same waltz. Wagner's leaping, flexible bass line from the Ride of the Valkyries nfluenced Delius's Messe des Lebens. (RLS)
Index classifications: 1800s, 1900s
Stinson, Russell. "Three Organ-Trio Transcriptions from the Bach Circle: Keys to a Lost Bach Chamber Work." In Bach Studies, ed. Don O. Franklin, 125-59. Cambridge: Cambridge University Press, 1989.
Bach's organ trios are divided into three categories: free works, chorale settings, and transcriptions. It is likely that three organ transcriptions, the Trio in G Major, BWV 1027a, and two trios not listed in the Schmieder catalogue, are not by Bach, although they are crucial to the understanding of a possible lost Bach chamber work. Stinson shows how these transcriptions rework the Bach originals and suggests names of Bach's contemporaries who could have been responsible for these transcriptions. (AC)
Index classifications: 1700s
Stockhausen, Karlheinz. Texte zur Musik 1963-1970. Köln: 1971.
[Discusses collage technique in recent music on pp. 224, 266, 277, and passim; citation from Tibor Kneif, "Collage oder Naturalismus?"]
Index classifications: 1900s
Stone, Kurt. "Ives's Fourth Symphony: A Review." The Musical Quarterly 52 (January 1966): 1-16.
Stone traces the performance history and historical importance of Ives's Fourth Symphony and describes each movement in detail. Stone attacks what he considers the noncommittal quality of Ives's music, his reluctance to compose using his own thematic ideas, as well as Ives's tendency to build complex and unconventional musical structures from simple and familiar tunes that have no musical relevance to the whole work and no interrelationship among themselves. While the symphony is significant for its historic interest and because in makes an enormous impact on anyone who listens to it, Stone concludes that its many self-contradictions in taste, artistry, and spirit seem too serious and too powerful to permit wholehearted acceptance. (WJM)
Index classifications: 1900s
Stone, William F. "'Lieder eines fahrenden Gesellen': The Operatic Connection." Ph.D. diss., University of Illinois, 1979.
Index classifications: 1800s
Storjohann, Helmut. "Die formalen Eigenarten in den Symphonien Gustav Mahlers." Ph.D. diss., University of Hamburg, 1952.
Index classifications: 1800s, 1900s
Straus, Joseph N. "Recompositions by Schoenberg, Stravinsky, and Webern." The Musical Quarterly 72 (July 1986): 301-28.
The practice of recomposition, in which compositions from earlier periods are absorbed and modified in new ones, is evident in many works of the twentieth century. In Stravinsky's Pulcinella, Schoenberg's Concerto for String Quartet and Orchestra, and Webern's orchestration of the Ricercare from Bach's The Musical Offering, a post-tonal musical structure is imposed upon a tonal model. In the Schoenberg the first movement is a recomposition of Handel's Concerto Grosso, Op. 6, No. 7; the last three movements are fantasias on material drawn from Handel. Schoenberg's recomposition enhances the motivic structure of the model. "Motivic saturation" is also evident in Schoenberg's orchestration of the Bach Chorale Prelude, Schmücke dich (BMW 654). The Stravinsky is a recomposition of music by Pergolesi and others. Recomposition is also evident in Stravinsky's orchestration of Bach's Canonic Variations on Vom Himmel Hoch. He also recomposed two songs by Wolf and worked on setting selected preludes and fugues of The Well-Tempered Clavier. In general, these twentieth-century recompositions force us to rehear each model as a network of motivic associations. (DCB)
Index classifications: 1900s
Straus, Joseph N. Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition. Cambridge, Mass.: Harvard University Press, 1990.
Index classifications: 1900s
Straus, Joseph N. "Tristan and Berg's Lyric Suite." In Theory Only 8, no. 3 (October 1984): 33-41.
The Lyric Suite of Alban Berg has several connections to Richard Wagner's Tristan und Isolde. The final movement is strictly serial, yet Berg created borrowings from the music drama through the structure of his row forms. At one point, Berg even quotes the opening bars of the Prelude to Tristan, made possible through the structure of the pitch row. Furthermore, the set-type of the Tristan chord is a subset of one of the two row forms used in this movement. What is remarkable about the borrowings from Tristan is that they relate to the secret program of Berg's work. The names Alban Berg and Hanna Fuchs-Robettin create the pitches A, B flat, B, F (0, 1, 2, 6), a motive whose set type is the same as a Tristan motive, in the first four pitches of the cello, thus creating a correlation throughout the two works and an association between the Tristan myth and Berg's unfulfilled relationship. In Tristan, the cello part is heard in the highest voice in inversion. This motive, a minor sixth followed by three semitones in the opposite direction, creates the set-type (0, 1, 2, 3, 7). Berg's use of serialism thus creates a strong relationship with the past.
Works: Berg: Lyric Suite (33-41).
Sources: Wagner: Prelude to Tristan und Isolde (33-41). (CMH)
Index classifications: 1900s
Stricker, Remy. "Liszt et l'emprunt." Revue musicale 405-7 (1987): 65-72.
Index classifications: 1800s
Stringer, Mary Ann. "Diversity as Style in Poulenc's Chamber Works with Piano." D.M.A. diss., University of Oklahoma, 1986.
Diversity was a prominent feature of Poulenc's view of life and personality and manifested itself in his compositions. One aspect of his compositional process which contributed to such diversity was his habit of borrowing from other composers and from his own works. In the earlier part of his career, Poulenc tended to borrow from others (for example, in the Sextet he quoted Stravinsky and Hindemith) whereas in the late chamber sonatas self-borrowing predominated, particularly from his opera, Dialogues des Carmélites (for example, in the Flute Sonata).
Works: Poulenc: Three Pieces for Piano (7), Sextet (96), Sonata for Flute and Piano (166-67), Sonata for Oboe and Piano (192-93), Sonata for Clarinet and Piano (193). (CMC)
Index classifications: 1900s
Strohm, Reinhard. "Händels Pasticci." Analecta musicologica 14, ed. Friedrich Lippmann, 208-67. Studien zur italienisch-deutschen Musikgeschichte 9. Köln: Arno Volk Verlag Hans Gerig, 1974.
Index classifications: 1700s
Strohm, Reinhard. "Messzyklen über deutsche Lieder in den Trienter Codices." In Liedstudien: Wolfgang Osthoff zum 60. Geburtstag, ed. Martin Just and Reinhard Wiesend, 77-106. Tutzing: Hans Schneider, 1989.
Index classifications: 1400s
Strohm, Reinhard. "Die Missa super 'Nos amis' von Johannes Tinctoris." Die Musikforschung 32 (1979): 34-51.
Index classifications: 1400s
Strunk, Oliver. "Origins of the L'homme armé Mass." Bulletin of the American Musicological Society 2 (1936): 25-26. Reprinted in Oliver Strunk, Essays on Music in the Western World, 68-69. New York, 1974.
Index classifications: 1400s
Stuart, Charles. "Britten 'The Eclectic.'" Music Survey 2 (Spring 1950): 247-50.
Britten's "eclecticism" incorporates elements from Bach, Schubert, Berg, Stravinsky, and Purcell. The opening of Peter Grimes is described as having been "lifted" from one of the Brandenburg Concertos, while in Act II the burgesses' hornpipe and the singing of the rector are considered "sheer Schubert." Britten is compared without elaboration to Berg in terms of harmony, while Stravinsky is evoked in relation to parody in Albert Herring. Purcell's influence is described as "the most fruitful and readily definable" of Britten's manners, but this is not elaborated.
Works: Britten: Peter Grimes (248), Sinfonia da Requiem (249), Beggar's Opera (249), Spring Symphony (249), Albert Herring (249), Saint Nicolas (249), String Quartet No. 2 (249), Violin Concerto (249). (NS)
Index classifications: 1900s
Stuckenschmidt, Hans Heinz. "Debussy or Berg? The Mystery of a Chord Progression." Translated by Piero Weiss. The Musical Quarterly 51 (July 1965): 453-59.
Stuckenschmidt points to two similar (he calls them "identical") passages in the music of Debussy and Berg. Each passage involves five chords in which the top voice moves from G to Eb while the bass moves by fourths and fifths as follows: Bb-Eb-ab-Db-Gb. The passages occur in Debussy's Six épigraphes antiques composed in 1914 (a suite for piano duet; the passage is in the fourth piece, "Pour la danseuse aux crotales") and in Berg's Vier Lieder, Op. 2, completed in 1909 (the passage is in the last song). The Debussy suite incorporates music he had written some fourteen years earlier for Pierre Louy's Chansons de Bilitis, the passage in question, however, is not present in the earlier music. It appears, therefore, that Debussy is referring (probably unconsciously) to Berg. A famous precedent for this sort of reference occurs as an unusual chord in Ravel's Habanera (1895) is repeated literally in Debussy's "Soirée dans Grenade" from Estampes (1903).
Works: Debussy: "Soirée dans Grenade" from Estampes (1903) (459); Scriabin: Piano Sonata No. 6 (456). (DCB)
Index classifications: 1900s
Sullivan, Todd Evan. "Chanson to Mass: Polyphonic Borrowing Procedures in Italian and Austro-Italian Sources, c.1460-c.1480. Ph.D. diss., Northwestern University, 1994.
Index classifications: 1400s
Swack, Jeanne. "Quantz and the Sonata in E-Flat Major for Flute and Cembalo, BWV 1031." Early Music 23 (1995): 31-53.
Index classifications: 1700s
Sweeney-Turner, Steve. "Resurrecting the Antichrist: Maxwell Davies and Parody--Dialectics or Deconstruction?" Tempo, no. 191 (December 1994): 14-20.
Peter Maxwell Davies's compositions have often been interpreted through dialectical criticism. Davies seeks a fundamental truth through the juxtaposition of opposing ideas. In the case of Vesalii Icones, this opposition occurs between Davies's use of a plainsong, Ecce manus tradentis, and portions of Pierre de la Rue's Missa L'homme armé. Scholars tend to read this work as an opposition of good and evil resulting in the eventual triumph of evil manifested in the Antichrist. Davies achieves this conflict through stylistic juxtaposition, parody, stripping the music of any decoration or embellishment in a reverse Schenkerian process, and stylistic transformation of material into a foxtrot parody. Yet, this interpretation of the work ultimately rests on the shoulders of Davies's analysis, his "program" given in the liner notes to the recording of Vesalii Icones, and his attitude toward popular music as inherently untruthful. One can also interpret this composition in terms of deconstruction. Deconstruction, unlike dialectics, attempts to eradicate a closed system of interpretation and resists the urge to use the opposing ideology to reinforce the primary belief. In this composition, the opposing forces are rarely stable enough to produce dominance of one over the other. Instead, what Davies has done is to juxtapose several conflicting ideas through "distortion," "ambiguity," "dissolution," and "fragmentation." Davies borrows from a specific repertoire to undermine that repertoire and distort ideas for which it stands, in an attempt to deconstruct those ideas, but what emerges results is an open composition in which multiple interpretations are possible.
Works: Davies: Vesalii Icones (14-20), Missa super L'homme armé (14).
Sources: Plainsong: Ecce manus tradentis (15-16); Pierre de la Rue: Missa L'homme armé (16). (CMH)
Index classifications: 1900s
Swing, Peter Gram. "Parody and Form in Five Polyphonic Masses by Mathieu Gascongne." Ph.D. diss., University of Chicago, 1970.
Index classifications: 1500s
Szeker-Madden, Lisa. "Topos, Text, and the Parody Problem in Bach's Mass in B minor, BWV 232." Canadian University Music Review/Revue de musique des universités canadiennes 15 (1995): 108-25.
Bach's choice of the opening chorus from Cantata 12 as the basis for the Crucifixus of the B-minor Mass is based on Aristotelian rhetorical principles. In both instances, there are identical topoi, predicament, and species. The same musical-rhetorical gestures of Cantata 12 are thus appropriate to the Crucifixus as well. Thus Bach's choice of model for parody goes well beyond strictly musical or textual considerations.
Works: Johann Sebastian Bach: Mass in B minor, BWV 232: Crucifixus.
Sources: Johann Sebastian Bach: Weinen, Klagen, Sorgen, Zagen, BWV 12/1. (FC)
Index classifications: 1700s
Szewykowski, Zygmunt M. "Tradition and Popular Elements in Polish Music of the Baroque Era." The Musical Quarterly 56 (January 1970): 99-115.
Poland experienced an awakening of interest in art and music in the late sixteenth and seventeenth centuries. In addition to the imported traditions of western Europe which accompanied an influx of Italian musicians to Poland, a body of music existed which, although not actual folk music, was the music of everyday life in Poland, the music which accompanied the rituals of church and social events. This music, which included the traditional dance forms of the mazurka and polonaise, provided the basic material for new works such as parody Masses. Other composers quoted popular melodies in various genres such as instrumental canzone and pastorals.
Works: Jan Fabrycy: Parody Mass on the motet In te Domine speravi by Waclaw of Szamotul (106); Gerwazy Gorczycki: Missa Paschalis (106); Marcin Leopolita: Missa Paschalis (106); Marcin Mielczewski: Missa super o glorioso (107); Bartlomiej Pekiel: Missa Paschalis (106). (NKT)
Index classifications: 1600s, 1700s
Tacaille, Alice. "L'emprunt au corpus gregorien dans les motets de Palestrina: Une approche quantitative." In Ostinato rigore: Revue internationale d'études musicales, no. 4, ed. Jean-Claude Teboul, 185-91. Paris: Jean-Michel Place, 1994.
Index classifications: 1500s
Tappert, Wilhelm. Wandernde Melodien. Eine musikalische Studie. Leipzig: C. G. Roder, 1868. 2nd ed., Berlin: Brachvogel & Ranfl, 1889; reprint, Oosterhout: Anthropological Publications, 1965.
Index classifications: General
Taricani, JoAnn. "The Early Works of Jacquet de Berchem: Emulation and Parody." Revue belge de musicologie 46 (1992): 53-79.
Because Jacquet borrowed so extensively in his early works, musicologists may use his compositional processes as a determinant for dating his youthful compositions as well as documenting his early career. His early madrigals involve different manners of emulation. One can surmise that Altro non è il mio amor is clearly modeled after Verdelot's madrigal with the same text, as Jacquet parodied each point of imitation in the model. Cogliete delle spini from Primo libro a 4 (1555) borrows entire voices from Cipriano de Rore's Anchor che col partire. Jacquet's madrigal cycle Capriccio also employs a pastiche of popular airs. Investigation of borrowed material also may determine the authenticity of the contested Missa Altro non è il mio amor which is based on the same Verdelot madrigal mentioned above. Parody seems to be the most common trait in all of Jacquet's chansons, which are modeled after works of Certon de Villiers, Sandrin, and possibly Jannequin. The motets, on the other hand, reflect the music of earlier composers, such as Josquin and Mouton, with their use of cantus firmus and diminution.
Works: Jacquet de Berchem: Altro non è il amor (59), Cogliete delle spini (60), Capriccio (60), Missa Altro non è il amor (61), Voix de Ville, Se envieulx, et faulx rapportz (63-65), In te signis radians (63-64).
Sources: Verdelot: Altro non è il amor (59-61); Rore: Anchor che col partire (60); Sandrin: Pui que de vous (67). (REG)
Index classifications: 1500s
Taruskin, Richard. "Antoine Busnoys and the L'Homme armé Tradition." Journal of the American Musicological Society 39 (Summer 1986): 255-93.
The use of prolation signatures in the L'Homme armé Mass by Busnoys (Busnois) suggests that he was the first to base a Mass on this tune. His use of a major-prolation signature in the tenor part is a device that looks backward to English composers of the Old Hall generation and to the isorhythmic motet. The transmission of mensuration signatures in various sources also establishes the Chigi Codex (Biblioteca Apostolica Vaticana, MS Chigiana C.VIII.234) as the most authentic reading. Busnois's mass is unified by an elaborate Pythagorean structure of durational ratios, figured by counting the total number of tempora. Throughout the Mass, it is the tactus rather than the tempus that is consistent, explaining certain notational eccentricities in the Tu Solus and Confiteor sections. At the Et incarnatus, the central point of the Mass, there are 31 tempora. There were 31 chevaliers in the Order of the Golden Fleece at its founding by Philip the Good of Burgundy in 1430. This detail, along with proportional structuring and the use of multiples of 31 found in the six anonymous masses of Naples, Biblioteca Nazionale, MS VI E 40 suggest that they were composed by Busnois. The association of Busnois with augmentational notation in tenor parts, as well as certain problems with attributions in manuscript sources, do not exclude him as the composer of "Il sera pour vous" (attributed to Robert Morton), a chanson from which the L'Homme armé tradition is thought to have sprung.
Works: Antoine Busnoys (Busnois): Missa L'Homme armé (passim); Guillaume Faugues: Missa L'Homme armé (262-63, 274); Guillaume Dufay: Missa L'Homme armé (263, 265, 267); Philippe Basiron: Missa L'Homme armé (263-64); Anonymous: Six Masses on L'Homme armé (Naples) (275-83). Related Works: Johannes Pullois: Victimae paschali (287-89).
Sources: Antoine Busnois (Busnois): Missa L'Homme armé (262-64); Robert Morton [attrib.]: Il sera pour vous conbatu (265, 273, 288-92). (FC)
Index classifications: 1400s
Taruskin, Richard. "Communication." Journal of the American Musicological Society 40 (Spring 1987): 148-53.
Busnoys's L'Homme armé Mass is, in fact, the progenitor of the L'Homme armé tradition, and he is the composer of the chanson Il sera pour vous , as well. The number 31 links the L'Homme armé Mass to the Order of the Golden Fleece, and thus to Busnoys. Contrary to David Fallows's claim for Dufay as progenitor (1987), Dufay's Mass is by far the more complex and prolix of the two, thereby positing itself as an emulation by "the Old Man bestirring himself to put the whippersnappers in their place." (EDL)
Index classifications: 1400s
Taruskin, Richard. "Russian Folk Melodies in The Rite of Spring." Journal of the American Musicological Society 33 (Fall 1980): 501-43.
Stravinsky downplayed the extent to which he incorporated Russian folk material in The Rite of Spring in discussions of the work following its composition. Taruskin atributes this to the composer's desire to dissociate himself from the Russian establishment, specifically the "Russian Five," who used folk materials in many of their works. In spite of Stravinsky's claims, Tarushkin demonstrates through an examination of the sketchbook for The Rite of Spring that much of the melodic material consists of reworkings of Russian folk tunes. In addition, many of the harmonic innovations of the work can be seen as derivative from the folk melodies, with the intervallic content used vertically instead of harmonically. (NKT)
Index classifications: 1900s
Taruskin,Richard. Stravinsky and the Russian Traditions: A Biography of the Works through Mavra. 2 vols. Berkeley: University of California Press, 1996.
Index classifications: 1900s
Taubman, Howard. "Why Gershwin's Tunes Live on: His Gift was that out of Popular Themes He Could Arrive at Something Memorable." New York Times 102 (28 September 1952): VI-20.
Index classifications: 1900s, Popular
Taylor, Paul Franklyn. "Stylistic Heterogeneity: The Analytical Key to Movements IIa and IIb from the First Piano Sonata by Charles Ives." D.M.A. dissertation, University of Wisconsin-Madison, 1986.
Index classifications: 1900s
Taylor, Sedley. The Indebtedness of Handel to Works by Other Composers: A Presentation of Evidence. Cambridge: University Press, 1906; reprint, New York: Da Capo Press, 1979.
Index classifications: 1700s
Taylor, Timothy Dean. "The Voracious Muse: Contemporary Cross-Cultural Musical Borrowings, Culture, and Postmodernism." Ph.D. diss., University of Michigan, 1993.
Index classifications: 1900s
Temperley, Nicholas. "Schubert and Beethoven's Eight-Six Chord." 19th-Century Music 5 (Fall 1981): 142-54.
Dozens of works by Schubert from 1816 on echo Beethoven's Seventh Symphony. Many examples are mentioned in the article. Special reference is made to the allusions to the Allegretto of the symphony. Schubert seems to associate the music with death. The main focus of the article is upon the harmonies in the trio and especially upon Schubert's appropriation of the eight-six chord on the dominant which is given such emphasis in the trio. This chord is created as a series of thirds descending over a dominant pedal. Schubert's allusions to this passage are noted and are called "unconscious reminiscences." Schubert's characteristic tendency toward interchangeability of mode is evident in these reminiscences. Schubert adopts what had been a commonplace harmony and invests it with a literary meaning. Traditional analysis is ill-equipped to identify what is significant in Romantic harmony.
Works: Schubert: Wanderers Nachtlied, D. 489 (143), Der Geistentanz, D. 494 (143), Der Tod und das Mädchen, D. 531 (143), Gesang der Geister über den Wasser, D. 538 (143), Thirteen Variations for Piano Solo, D. 576 (144), Schwanengesang, D. 744 (144), Die Liebe hat gelogen, D. 751 (144), Du liebst mich nicht, D. 756 (144), Entr'acte from Rosamunde, D. 797 (144), Wanderer Fantasy, D. 760 (144), Death and the Maiden Quartet, D. 810 (144), Quartet in A Minor, D. 804 (144), Symphony in C Major (144), Piano Sonata in C Minor, D. 958 (145), Die Götter Griechenlands, D, 677 (145), Fantaise-Sonata in G, op. 78 for piano solo, D. 894 (145), Ländler in Ab, D. 790 (149). (DCB)
Index classifications: 1800s
Tessier, André. "Encore des Parodies de Couperin." Revue de musicologie 11 (1930): 114-18.
Index classifications: 1700s
Tessier, André. "Quelques Parodies de Couperin." Revue de musicologie 10 (1929): 40-44.
Index classifications: 1700s
Thissen, Paul. Zitattechniken in der Symphonik des 19. Jahrhunderts. Musik und Musikanschauung im 19. Jahrhundert: Studien und Quellen, 5. Köln: Studio, 1998.
Index classifications: 1800s
Thomas, Ted. "Infringement." Songwriter's Review 34, no. 1 (1979): 4.
Index classifications: General
Thomas, Ted. "Plagiarism." Songwriter's Review 34, no. 1 (1979): 5.
Index classifications: General
Threlfall, Robert. "The Final Problem, and Vaughan Williams' Piano Concerto." The Musical Opinion 98 (February 1975): 237-38.
Arnold Bax figures importantly in Ralph Vaughan Williams's Piano Concerto (1931). The end of its final solo cadenza quotes the Epilogue to the Third Symphony of Bax. The matter is confused by the fact that the quotation is implicitly anticipated in the Concerto's Romanza, composed in 1926, three years before the Bax symphony's composition (1929) and four before its first performance (1930). The fuga of the concerto also foreshadows the Symphony No. 4 in F Minor, dedicated to Bax by Vaughan Williams.
Works: Bax: Symphony No. 3 (237); Vaughan Williams: Piano Concerto (237); Romanza (238); Symphony No. 4 in F Minor (238). (RCL)
Index classifications: 1900s
Tibbe, Monika. "Musik in Musik: Collagetechnik und Zitierverfahren." Musica 25 (November/December 1971): 562-63.
Unstylized dances, marches, and songs are conspicious in the music of Charles Ives, giving his symphonies an unruly appearance when compared with their European counterparts. Ives uses collage technique to combine such material (normally considered "foreign" to the symphonic domain) with more "acceptable" symphonic material. Mozart's Don Giovanni, Carl Maria von Weber's Concerto in F Minor for Piano and Orchestra, Beethoven's Missa Solemnis, and Mahler's symphonies reveal different methods of incorporating such functional "music in music." In these cases, however, the quoted music is absorbed into the character of the composition in which it finds itself to a greater extent than it is in the music of Ives, where it maintains its identity and is thus an equal partner. In addition, in Ives's music, the quoted material becomes, through collage technique, a "principle of form."
Works: Beethoven: Missa Solemnis; Berg: Wozzeck; Ives: Holidays Symphony; Mahler: Symphony No. 2, Symphony No. 4; Mozart: Don Giovanni; Weber: Concerto in F Minor for piano and orchestra. (CMC)
Index classifications: General, 1800s, 1900s
Tibbe, Monika. Über die Verwendung von Liedern und Liedelementen in instrumentalen Symphoniesätzen Gustav Mahlers. 2d. ed. Munich: Musikverlag Emil Katzbichler, 1977.
Mahler uses material from his own songs, especially those from his song-cycle Lieder eines fahrenden Gesellen, in his symphonies in three general ways: (1) as the basis of an entire movement, as in the first movement of his Symphony No. 1 (based on "Ging heut' morgen übers Feld") and the Scherzo movement of his Symphonies No. 2 and No. 3; (2) as episodes with a symphonic movement, especially as "Lindenbaum" relates to the third movement of his Symphony No. 1, second movement of his Symphony No. 2, and the third movement of his Symphony No. 5; (3) as the source of melodic elements, taken over in the symphony through emulation, direct quotation, or motivic transformation. The last section of this monograph provides a contiguous chronology of Lieder eines fahrenden Gesellen and the Symphony No. 1.
Works: Mahler: Symphonies Nos. 1, 2, 3, and 5. (JAJ)
Index classifications: 1800s, 1900s
Tick, Judith. "The Origins and Style of Copland's Mood for Piano no. 3, 'Jazzy.'" American Music 20 (Fall 2002): 277-96.
Aaron Copland's use of quotation, harmony, and rhythm in Mood for Piano no. 3, "Jazzy," written before he departed Brooklyn for Paris, reveals important features of his aesthetics. The piece, though obscure, represents Copland's ability to blend popular and classical styles. The opening of the first theme of "Jazzy" resembles openings in Tin Pan Alley hits such as Alexander's Ragtime Band and Oh Joe, With Your Fiddle and Bow, with "slangy lyrics" and ragtime rhythms. The second theme in "Jazzy" quotes the tune My Buddy, popular in the World War I era. Copland paraphrased the tune in "Jazzy" and changed the meter from triple to duple. He retained the chromaticism of the original, found in the melody and the harmony. In addition to these quotations and allusions, Copland may have used Leo Ornstein's Three Moods for Piano as a structural model for "Jazzy." Some of Copland's sonorities resemble Scriabin's "mystic chord." He also uses the chromatic shifts present in the bridge of Zez Confrey's Kitten on the Keys as a basis for his more dramatic chromaticism. Overall, Copland uses parody to satirize popular songs, to use jazz rhythms in a new way, and to borrow modern harmonies and make them accessible.
Works: Copland: Mood for Piano no. 3, "Jazzy" (277-82, 289-93).
Sources: Berlin: Alexander's Ragtime Band (282); Walter Donaldson: Oh, Joe, With Your Fiddle and Bow (You Stole My Heart Away) (282); Gus Kahn and Walter Donaldson: My Buddy (283-89, 292); Ornstein: Three Moods for Piano (290); Confrey: Kitten on the Keys (291). (KJL)
Index classifications: 1900s
Tiessen, Heinz. Musik der Natur. Über den Gesang der Vögel, insbesondere über Tonsprache und Form des Amselgesangs. Berlin-Darmstadt: Agora, 1978.
Index classifications:
Todd, R. Larry. "On Quotation in Schumann's Music." In Schumann and His World, ed. R. Larry Todd, 80-112. Princeton: Princton University Press, 1994.
Index classifications: 1800s
Todd, R. Larry. "Retrograde, Inversion, Retrograde-inversion, and Related Techniques in the Masses of Obrecht." The Musical Quarterly 64 (January 1978): 50-78.
Index classifications: 1400s
Tomaszewski, Mieczyslaw, and Joanna Zurowska. "Presence de Chopin chez les musiciens contemporains et posterieurs." In La Fortune de Frédéric Chopin, vol. 2, 23-40. Warsaw: Uniwersytet Warszawski, 1995.
Index classifications: 1800s
Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987.
[See chapter 2.]
Index classifications: 1500s, 1600s
Tongier, Cheryl Ann. "Pre-existent Music in the Works of Peter Maxwell Davies (Britain)." Ph.D. diss., University of Kansas, 1983.
Index classifications: 1900s
Town, Stephen. "Mendelssohn's 'Lobgesang': A Fusion of Forms and Textures." The Choral Journal 33, no. 4 (November 1992): 19-26.
Mendelssohn's Symphony No. 2 "Lobgesang" is a ceremonial work composed for the 400th anniversary celebration of Gutenberg's invention of moveable type. It is a mixture of vocal and instrumental music, a fusion of different forms and textures of cantata, oratorio, opera and symphony. In the past, it suffered unjust criticism as a result of incorrect comparison to Beethoven's Ninth Symphony. A general resemblance to Beethoven's Ninth, as well as the nineteenth-century anxiety toward the work, points to Beethoven's Ninth Symphony as Mendelssohn's paradigm. But the real models for Mendelssohn are the cantatas and passions of Bach, and the anthems and oratorios of Handel. The "Lobgesang" consists of two parts: the instrumental part, labeled as "Sinfonia," succeeded by a cantata. The cantata contains a diversity of styles. A closer examination of the aria "Stricke des Todes hatten uns umfangen" from No. 6, the so-called "Watchman scene," shows how Mendelssohn uses sonata principle to serve as an essential part of the drama and in total compliance to the text. In the chorus "Die Nacht ist vergangen" from the same number, Mendelssohn uses a mixture of homophonic and fugal writing; the climax is reached through repetition, elaboration, and variation of thematic materials, producing a coherent form.
Works: Mendelssohn: Symphony No. 2, Op. 52, Lobgesang. (TC)
Index classifications: 1800s
Trend, John Brand. "Falla in 'Arabia'." Music and Letters 3 (April 1922): 133-49.
The fundamental distinguishing characteristics of the Andalusian folk tradition are the use of guitar with its unique rhythmic and harmonic possibilities, the use of the cante jondo, especially its la, sol, fa, mi cadential figure, and the use of an internal pedal. Falla, following Debussy's example, imbedded these traits within the fabric of his music to create works which expressed fully the spirit of southern Spain. Falla acknowledged his debt to Debussy by quoting from his piano works in Homen