In electroacoustic music compositions, various types of sound and music borrowing are commonly practiced, and a carefully constructed terminology of borrowing would lay the groundwork for a better understanding of the nuances of these practices. First, within electroacoustic music, there is a difference between borrowing a sound recording and borrowing existing music. Composers of electroacoustic music describe their motivations for borrowing with a breadth of terminology. There is also a variety of specific types of borrowing, including sampling, appropriation, stealing, and so on, and the boundaries between them can sometimes be fuzzy. Layers and lineages of borrowing occur when a piece borrows from a source that itself borrows from an even earlier source. Different durations of borrowed material are also distinguishable, and are relevant to the legalities of borrowing. In electroacoustic music, there are distinctive modification and embedding techniques. For example, borrowed material can be reconfigured (changed in some way), disintegrated (broken up and reorganized), or obliterated (no sense of the original work remains). The terminology of borrowing in electroacoustic music is distinct from other typologies of borrowing, and it provides a framework for understanding the differences in borrowing between electroacoustic and instrumental music.

Works: Åke Parmerud: Necropolis: City of the Dead (143); Louis Dufort: Gen_3 (143, 146); Francis Dhomont: Novars (143, 146); Margaret Schedel: After | Applebox (146); Brahms: Symphony No. 4 in E minor, Op. 98 (146); Pauline Oliveros: Bye Bye Butterfly (149); Vladimir Ussachevsky: Wireless Fantasy (149).

Sources: Wagner: Die Walküre (143), Parsifal (149); Palestrina: Missa Papae Marcelli (143); J. S. Bach: Suite No. 1 in G major, BWV 1007 (143), Nach dir, Herr, verlanget mich, BWV 150 (146); Beethoven: Piano Sonata No. 8 in C minor, Op. 14, Pathétique (143); Francis Dhomont: Novars (143, 146); Pierre Schaeffer: Étude aux objets (143, 146); Machaut: Messe de Nostre Dame (143, 146); Brahms: Symphony No. 4 in E minor, Op. 98 (146); Puccini: Madama Butterfly (149).

Index Classifications: 1900s, 2000s

Contributed by: Matthew Van Vleet