Gershwin's Lullably, for string quartet, premiered at the 1963 festival, is an early work whose primary material was later re-used by Gershwin for part of the score for the Scandals of 1922.

Index Classifications: 1900s

Contributed by: John Andrew Johnson

Billy Wilder's 1964 film Kiss Me Stupid re-used some Gershwin songs used previously (during the composer's lifetime) and introduced some new ones (posthumously). The new songs were released to the public for the first time from the composer's musical notebooks.

Works: Gershwin: 'S Wonderful,I'm a Poached Egg,All the Livelong Day,Sophia.

Index Classifications: 1900s, Jazz, Film

Contributed by: John Andrew Johnson

Current copyright law discourages the vital reinterpretation of existing music that defines jazz aesthetics. It privileges the composer of a borrowed work as the sole owner, regardless of the meaningful and original transformations a new musician may bring to or derive from an existing chord progression or tune. Within the framework of current copyright law, the kind of borrowing, referencing, and reworking of existing music that characterizes the evolution of jazz is considered unoriginal and thus not up to the standards required to adhere to the law. Revisitation is essential to jazz, ranging from oblique reference to the arrangement and performance of standard songs. Therefore, a narrower definition of what is legally “derivative” must be introduced into copyright law, in order to protect and valuate the highly original contributions of jazz musicians who generate new works and interpolations from existing music. Given the musical originality of many such interpolations, copyright law should consider these to be transformative, and thus not only protected under fair use analysis but also privileged as original compositions, protected under the law. Moving forward, similar considerations may be applied to digital music compilation, since the ability to transform sources and create collages generates new modes of meaning in a similar way to jazz.

Works: John Coltrane (performer): Summertime (1944); Art Tatum (arranger and performer): Cherokee (1946); Live Crew: Oh, Pretty Woman (1951); Miles Davis (arranger and performer): Love for Sale (1951-53); Keith Jarrett (performer): I Got It Bad and That Ain’t Good (1959).

Sources: George Gershwin and Ira Gershwin: “Summertime” from Porgy and Bess (1944), I Got Rhythm (1948-49); Ray Noble: Cherokee (1946); Vincent Youmans and Irving Caesar: Tea for Two (1948); Joseph Kosma and Jacques Prévert: Autumn Leaves (1948); Roy Orbison: Oh, Pretty Woman (1951); Cole Porter: Love for Sale (1951-52); Duke Ellington and Paul Francis Webster: I Got It Bad and That Ain’t Good (1959).

Index Classifications: 1900s, Jazz

Contributed by: Molly Covington

The epiphanic moment in which a listener realizes that musical borrowing has taken place concerns not only the relation between two texts but also performance. For instance, in the 1939 film The Thief of Baghdad there is a brief allusion to a passage from the overture to Wagner's Der fliegende Holländer. When one recognizes such borrowing, it is dependent on a "polysemic mélange" that works together to make such recognition possible. For instance, beyond the musical resemblances, the film and the opera share a number of images, such as a ship and blood-red sails. Also, in both film and opera it seems as if music animates objects. An individual's particular viewing experience can also contribute to the experience, such as when a movie theater and an opera hall share similar acoustics. Such ludic details of performance are often overlooked but are an inseparable part of such epiphanic moments.

Works: Miklós Rózsa: Score to The Thief of Baghdad (597-609).

Sources: Richard Wagner: Der fliegende Holländer (597-609).

Index Classifications: 1900s, Film

Contributed by: John F. Anderies

Index Classifications: 1900s, 2000s, Popular

In this treatment of the life and work of Schafer, several examples of borrowing are discussed. Son of Heldenleben (1968) is based on Strauss's Ein Heldenleben, and it demonstrates Schafer's ambivalence toward the Romantic era. Strauss's first theme serves as a cantus firmus in extreme augmentation for most of the piece, and other borrowed themes are presented in a rush at the end of the work. Written for orchestra and tape, Schafer's piece praises and belittles Strauss simultaneously, a conflict which is audible. Besides the direct quotations, two tone rows are derived from Strauss. Adieu, Robert Schumann (1976) is an example of collage, as it uses quotations from several of Schumann's works, including Kreisleriana and Carnaval. Written for a contralto, who plays the role of Clara Schumann, and orchestra, the work takes place in the last days before Schumann's death in a mental institution. It exemplifies Schafer's ability to blend old and new styles to create something distinctly his own.

Works: Schafer: Son of Heldenleben (110-17), Adieu, Robert Schumann (158-60).

Sources: Richard Strauss: Ein Heldenleben, Robert Schumann: Kreisleriana, Carnaval.

Index Classifications: 1900s

Contributed by: Jessica Sternfeld

For several Yiddish-speaking Jews, music served as a vehicle for spiritual resistance during the Holocaust. Writers often composed new lyrics to pre-existing tunes from popular songs and folksongs, and the music chosen was often both easily identifiable and significant to the writer. Through adapting older, well known songs, the writers were able to express subtle messages and meanings to their listeners. Broadly speaking, songs could be adapted in three ways: reuse, rewriting, and response. Reusing older melodies allowed concentration camp inmates to create a song that reflected their reality while also observing their Jewish heritage. Rewriting, or adding new lyrics to existing tunes, drew on the listeners’ familiarity with both the original tune and the original words to create symbolic meanings. Finally, songs in the response category would make references to original song texts, but not the original tunes, creating a deliberate contrast between the new song and the source.

Works: Anonymous: Ani Ma’amin (55, 57); Anonymous: Zog Nitkeyn Mol (57); Anonymous: Tsen Brider (57-58); Rilke Glezer: Papirosn (62); Yankele Hershkowitz: Papirosn (62); Sh. Sheinkinder: Papirosn (63); Yankele Hershkowitz: Nishtu Keyn Przydziel (62-63); Shimshon Fersht: Unter di Grininke Beymelekh (64); David Beyglman: Nit kayn Rozhinkes, nit kayn Mandlen (64).

Sources: Abraham Goldfaden: Rozhinkes mit Mandlen (54, 60-61, 64); Ani Ma’amin (57); Mordecai Gebirtig: Es Brent (56, 57); Anonymous: Tsen Brider (57-58); Abraham Goldfaden: Shulamis (58-59); Herman Yablokoff: Papirosn (61-62); A. M. Bernstein: Tsum Hemerl (58-59).

Index Classifications: 1900s

Contributed by: Cynthia Dretel, Matthew G. Leone

Cantus firmus is treated differently in several a cappella works by Ernst Pepping. All the pieces selected borrow from the sacred songs of the Bohemian Brothers.

Works: Works: Pepping: Deutsche Choralmesse für sechsstimmigen Chor (23), Spandauer Chorbuch (23), Liedmotetten nach Weisen der Böhmischen Brüder für Chor a capella (24ff.), Gesänge der Böhmischen Brüder in Variationen für Chor a cappella (31).

Index Classifications: 1900s

Contributed by: Andreas Giger

Works: Bartók: Viola Concerto

Index Classifications: 1900s

Index Classifications: 1800s, 1900s

Index Classifications: 1800s, 1900s

Joan Tower demonstrates how a composer can remake traditions to carve out a space for her own voice. Tower comes out of the Western art music tradition with Beethoven as her strongest influence. “I couldn’t get [Beethoven] out of my head!” she says, “So I decided to invite him in.” Tower wrestles with Beethoven and allows him to become part of her music rather than an outside antagonist. Beethoven’s most obvious influence on Tower’s wider musical output is the technique of small motivic units organically developing, which can be seen in Tower’s Sequoia for orchestra. Tower claims Beethoven as part of her musical inheritance, but instead of feeling burdened by tradition, she uses it as the impetus for new ideas that are completely her own. Creativity in the arts does not happen in a vacuum free from tradition and cultural influences, but rather it takes place in dialogue with the past and future. In other words, a creative individual recognizes her inheritance and the tradition of which she is a member and makes something new out of older materials.

Works: Joan Tower: Sequoia (26-27, 30-31, 35).

Index Classifications: 1900s, 2000s

Contributed by: Sarah Kirkman

In the third movement of his Sinfonia, Berio uses collage on three levels. (1) The Scherzo ("Des Antonius von Padua Fischpredigt") from Mahler's Second Symphony, of which the proportions remain essentially the same, makes up the structural basis. The addition stresses the proportional importance of the fateful number eleven standing for imperfection, which in turn is related to the meaning of Mahler's scherzo. (2) In the course of the whole movement, Berio quotes composers from Bach through Stockhausen, and while we recognize some of the quotations immediately, others can hardly be perceived. (3) The text consists of passages from Beckett's novel The Unnamable interspersed with words by Joyce, expression marks, political slogans, and phonetic material. Mahler's music implies the quotations on the second level, be it tonally (Berio even changed some notes for tonal reasons), motivically (the minor second functions as a central motive), programmatically, or by instrumentation. Even the disposition of the text follows Mahler and it is often only through the text that we can identify musical quotations. This kind of collage therefore does not destroy but reinterprets the "Fischpredigt." The study includes some didactic suggestions.

Works: Mahler: Symphony No. 2; Berio: Sinfonia.

Index Classifications: 1900s

Contributed by: Andreas Giger

The music of Casablanca was a metaphor for the power of political unity against the adversaries of America: American music defied enemy music and thus enemy culture. This metaphor is accomplished both diegetically and through Max Steiner’s score, which creates leitmotifs out of national songs and the famous ballad, As Time Goes By. Because current wartime tensions created political insecurities for audiences, it was difficult for viewers to regard the film as fantasy, and the film’s music aids in a transition to fiction. For example, the relationship between the diegetic performances of As Time Goes By and Steiner’s appropriation of the ballad reinforces a past of assured political ideology as well as American unity and idealism. Additionally, the film demonstrates fantasies and realities of race and segregation through the treatment of and musical performances by the character Sam.

Works: Michael Curtiz (director) and Max Steiner (composer): score to Casablanca.

Sources: Claude-Joseph Rouget de Lisle: La Marseillaise (484, 497-98, 500-501); Carl Wilhelm: Die Wacht am Rhein (484, 497-98, 500-501); Herman Hupfeld: As Time Goes By (485, 487, 497, 502-14).

Index Classifications: 1900s, Film

Contributed by: Kate Altizer

Although Stockhausen, Nono, and Henze approach the preexistent material differently, they all try to combine simple, tonal melodies with the complex structures of sound (Klangstrukturen) of the avantgarde around 1967. In his Hymnen, Stockhausen borrows different national anthems to represent internationality and disparities between nations. He develops, for example, the Internationale in a way that underlines the program of the composition, the struggle for a peaceful world, gradually synchronizing different layers of sound. Nono's Per Bastiana--Tai-Yang Cheng does not borrow the (communist) Chinese folk song The East Is Red in a traditional way. The pentatonic melody and its intervallic structure permeate the whole composition. "Tai-Yang Cheng," a textual quotation from the song, expresses Nono's hope for a "red shining life" of his daughter Bastiana under the banner of communism. Henze expresses the difficulties of our West-European world by attempting to write a symphony in 1969 with traditional techniques and dead (kaputt) musical material and his admiration for communist Cuba (the piece was written for Havana) by quoting Cuban folk songs and communist tunes (such as the song of the National Liberation Front in Vietnam, Stars of the Night).

Works: Stockhausen: Hymnen, Nono: Per Bastiana--Tai-Yang Cheng; Henze: Sinfonia No. 6 for two Chamber Orchestras (315-17).

Sources: Marseillaise (314-15), Internationale (314-15), The East is Red (315), Stars of the Night (316).

Index Classifications: 1900s

Contributed by: Andreas Giger

Index Classifications: 1900s

Halffter, Rihm, and Huber use quotations with different intentions. Halffter's Noche pasiva del sentido makes extensive use of a descending four-tone motive that not only associates the piece with Spanish folklore in general but also plays an important role in Ravel's Rhapsodie espagnole. Rihm modeled the fourth movement of his String Quartet No. 3 over long stretches on the "Cavatina" from Beethoven's String Quartet, Op. 130; some of the thematic material is derived from Beethoven and the movements show similar outlines. "Genesis," the first movement from Huber's Violin Concerto (Tempora) represents the emergence of sound from "primitive noises" (Urgeräusche), including in this process a structurally important quotation of the B-A-C-H motive. The third movement, "quod libet," displays its link to the classical tradition by including literal quotations, thus alluding to the contraction "quodlibet." In his ...inwendig voller figur..., Huber reuses material from the second ("De Natura") and last ("quod nescitur") movements of his Violin Concerto, relating Dürer's sketch Traumgesicht and texts of the apocalypse of John.

Works: Halffter: Noche pasiva del sentido (131-35); Rihm: In Innersten (String Quartet No. 3, 138-43); Huber: Tempora 143-50), . . . inwendig voller figur . . . (146, 149).

Index Classifications: 1900s

Contributed by: Andreas Giger

African American composer Ulysses Kay and white librettist Donald Dorr’s 1976 opera Jubilee expresses the early stages of the political ideology of multiculturalism in confronting the history of American slavery in the context of the US Bicentennial celebrations for which it was commissioned. Kay’s use of historical musical forms and quotations reflects the creators’ nuanced approach to the opera’s subject matter. Kay’s early composing career is marked by an adherence to universalism and a denial of the influence of race on his music. This attitude changed with his work on Jubilee, which dealt explicitly with racial politics. The opera’s multiculturalist approach is evident in the lynching scene, modeled on the auto-da-fé in Verdi’s Don Carlo. In this scene, three racially segregated choruses—white planters singing a patriotic song, poor whites singing a chorus based on the folksong Goober Peas, and slaves singing the hymn Flee as a Bird to the Mountain gather to celebrate the Fourth of July and to witness the hanging of a slave woman. No single chorus is dominant over the others and they each reveal complex reactions to the proceedings from different nineteenth-century cultural viewpoints. Jubilee does not shy away from depicting the horrors of slavery, but it also does not demonize white Americans. The final scene offers a different model of multicultural reconciliation and is scored with ragtime music, a genre marked by stylistic fusion between African American and European American traditions. Despite its initial reception as a symbol of healing, Jubilee has not been produced since its initial run. However, the main concern of Jubilee—the ideology of multiculturalism and the challenges of trading cultural uniqueness for social cohesion—is still an ongoing concern in American culture.

Works: Ulysses Kay: Jubilee (397-403)

Sources: Traditional: Rise Up Shepherds an’ Foller (397-99), Goober Peas (401-2), Flee as a Bird to the Mountain (402-3); Verdi: Don Carlo (400-3)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

The enduring success of Aaron Copland’s 1942 Fanfare for the Common Man owes in part to the tension it holds between jingoistic and progressive politics that today appeals to a wide array of audiences and politicians. In its conception, Fanfare conveyed a leftist progressive message, celebrating the “common man” based on a speech by Vice President Henry A. Wallace. Until the 1970s, the piece was mostly understood by audiences as dramatic rather than political or patriotic. After Copland conducted Fanfare alongside overtly patriotic pieces at the 1979 National Symphony Orchestra Fourth of July concert, a more “American” meaning was attached to it, largely sidelining its progressive aspects. The use of Fanfare by both the Bush and Obama administrations suggests an association with benign American exceptionalism, tempering patriotic celebrations with a non-specific progressive element. This reconfiguration of the meaning of Fanfare is also evident in the large number of popular works (film and television soundtracks in particular) that utilize the Fanfare trope: trumpets (or horns) playing leaping triads in martial rhythms juxtaposed with loud drums. This trope is distinct from a generalized fanfare by slower tempo, more adventurous harmony, and often a texturally distinct solo trumpet. Rather than evoking overt militarism as a traditional fanfare would, the Fanfare trope is used to evoke benign exceptionalism. Examples of the Fanfare trope feature prominently in the scores to Superman (1978) and The West Wing (1999-2006). Recent works challenging this idea of exceptionalism include HBO’s Veep, the title sequence of which uses the Fanfare trope satirically in its comedic depiction of self-serving politicians, and Netflix’s House of Cards, which offers a cynical take on American politics with a stripped-down Fanfare trope in its title sequence. Given the show’s War on Terror theme, the trumpet in the title sequence of Homeland can also be understood as a fractured Fanfare trope. The Trump Administration’s avoidance of Fanfare and Fanfare tropes along with a trend of Fanfare performances following Biden’s election demonstrates the piece’s continued relevance in American politics.

Works: Anonymous: score to Strong (2011 Rick Perry campaign ad) (247); Aaron Copland: Symphony No. 3 (251); John Williams: score to Superman (263-64); W. G. Snuffy Walden: score to The West Wing (263-64); David Schwartz: score to Veep (264-65); Jeff Beal: score to House of Cards (264-65); Sean Callery: score to Homeland (265-66); Jerry Goldsmith: score to Air Force One (267).

Sources: Aaron Copland: Fanfare for the Common Man (247, 251, 263-67).

Index Classifications: 1900s, 2000s, Film

Contributed by: Matthew Van Vleet

Four sources provide the basis for the study of Bartók's folk song arrangements, the Romanian Christmas Carols: (1) the transcriptions from the recordings he made on location; (2) notebook entries of melodies written down on-the-spot; (3) the versions of the carols as given in the preface to Bartók's Romanian Folk Music, vol. 4; and (4) the arrangement. Arauco especially examines changes between sources (2) and (3) and interprets them as a rapprochement to Western art music. Removal of incidental tones and ornaments, repositioning of barlines, and alteration of notes and rhythms clarify the harmonic and motivic phrase structures, which become easier to understand for listeners familiar with the tradition of Western art music and to some extent make up for the loss of the text originally comprising that function. Arauco argues that the change of elements incidental to the essence of the folk song not only adds structural clarity but, as a consequence, also reinforces the "inner emotive power."

Works: Bartók: Romanian Christmas Carols.

Sources: carols collected by Bartók in Transylvania, 1910-14 (193-95).

Index Classifications: 1900s

Contributed by: Andreas Giger

Index Classifications: 1900s

Current copyright laws do not adequately support the forms of musical borrowing prevalent in hip-hop. The use of pre-existing recordings in hip-hop samples simultaneously violates the protected rights of both the existing musical composition and the recording of that musical composition. Sampling continues to be viewed as theft rather than a source of innovation within music. Aesthetic values prevalent in hip-hop, such as oral tradition, textual emphasis, repetition, polyrhythm, and borrowing, need to be situated in a broader context of musical aesthetics and, consequently, legal treatment of borrowing practices. Treating hip-hop as theft or plagiarism robs it of its rightful place within the historical context of musical borrowing in many different kinds of music. Modifications to current copyright laws, such as payment structures and differentiation of different types of sampling, are necessary to address the legality of hip-hop sampling.

Works: Irving Gordon (songwriter), Natalie Cole (performer): Unforgettable (562); Beastie Boys: Pass the Mic (570-72); N.W.A.: 100 Miles and Runnin' (574-76); Biz Markie: Alone Again (580-81); Handel: Israel in Egypt (601-603, 610).

Sources: James Newton: Choir (570-72); George Clinton (songwriter), Funkadelic (performers): Get off Your Ass and Jam (574-76); Gilbert O'Sullivan: Alone Again (Naturally) (580-81); Dionigi Erba: Magnificat (601-603, 610).

Index Classifications: General, 1700s, 1800s, 1900s, Jazz

Contributed by: Amanda Sewell

Index Classifications: General, 1900s

Index Classifications: 1900s, 2000s, Popular

Like Bartók and Stravinsky, Gershwin was both a discoverer and an inventor (pp. 39-59). Many of his musical sources were African-American and Jewish, and he was inventive in the areas of rhythmic variation, placement of accents, and color. Gershwin observed a large population of Gullah Negroes on Folly Island in order to compose the score of his "folk opera" Porgy and Bess (pp. 149-53). He had great difficulty with the critics for his "vulgar" borrowing from the jazz idiom (pp. 84-121).

Works: Gershwin: Porgy and Bess, Piano Concerto, An American in Paris.

Index Classifications: 1900s

Contributed by: Daniel Bertram

The aria “Che faranno i vecchi miei,” sung by the minstrel character Jake Wallace in Act I Puccini’s opera La Fanciulla del West, was long thought to have its source in the Stephen Foster tune Old Dog Tray. In fact, the source for the Puccini aria is Carlos Troyer’s arrangement of the Chorus of Virgin Maidens from the Zuni Indian Festive Sun-Dance. The long-standing misconception of this aria’s source arose primarily because the play on which La Fanciulla is based, David Belasco’s The Girl of the Golden West, includes a line that implores Jake Wallace to sing Old Dog Tray; since then, scholars have assumed a direct source-work connection between the songs in the play and the opera. Not only does the tune Belasco included in the play—an ensemble arrangement written by the music director for the play, William Walter Furst—not match Puccini’s aria in either poetic meter or melody, but Belasco’s tune also differs greatly from the music and lyrics of Foster’s song. A look at Puccini’s sketches and letters solves this puzzle: the composer received a book containing the Festive Sun-Dance from Sybil Seligman in 1907. With the exception of phrase repetition, the melody of the opening period in “Che faranno” matches the Zuni Indian tune exactly.

Works: Puccini: La Fanciulla del West (362-92); William Walter Furst: Old Dog Tray (370-76).

Sources: William Walter Furst: Old Dog Tray (370-76); Stephen Foster: Old Dog Tray (373-77); Carlos Troyer: The Festive Sun-Dance (384-87, 391).

Index Classifications: 1900s

Contributed by: Nathan Blustein

There is an inherent difference between music of silent films and sound films; the former, sometimes referred to as cinema music, is music performed in the cinema usually experienced as a filler for silence while the latter, sometimes referred to as film music, is music physically placed on the film and experienced with narrative function in mind. However, some silent film scores act as if they could have been composed for this latter, narrative period, such as Gottfried Huppertz’s score for Metropolis (1927), due to its orchestration, use of leitmotivic techniques, and manipulation of musical material.

Due to cuts upon the film’s American release, Huppertz’s original score was heavily edited and mostly forgotten, to the point where the original score was not used in the 1984 remastering of the film by Giorgio Moroder. However, in 2008, the closest version to the original film was rediscovered in an Argentinian archive, along with Huppertz’s sketches and timings. The reconstruction of this earlier, more complete version reveals that the score contained many of the narrative techniques now associated with later film music, mainly the leitmotiv technique. It also includes references to other works: the melodic and harmonic language is rooted in Wagner, Mahler, and Richard Strauss’s style, while the “Machine Theme” echoes similar music by George Antheil and Arthur Honegger. In addition to these stylistic allusions, Huppertz also uses outright quotation, including the Dies irae chant upon the deaths of the workers in the machine room and La Marseillaise when the False Maria leads the mob to destroy the machines. In the process, despite its earlier time period, Huppertz’s score takes on the qualities and ethos of later Hollywood film music.

Works: Gottfried Huppertz: Score to Metropolis (45-57).

Sources: Camille Saint-Saëns: Danse Macabre (51); Anonymous: Dies irae (53); Claude-Joseph Rouget de Lisle: La Marseillaise (53).

Index Classifications: 1900s, Film

Contributed by: Emily Baumgart

An introduction to Paganini's place in history and his contributions includes background information on the 24th Caprice of Op. 1, an analysis of its theme, and a list of works (p. 28) based on this theme. Auh provides introductions and analyses of Liszt's sixth Grande etude, Brahms's Variations on a Theme by Paganini, Op. 35, and Friedman's Studies on a Theme by Paganini, Op. 46b, and compares the elements of retention and variability of the original theme, variation technique, grouping for performance, and technical musical difficulties. Almost all of the variations assume the basic structure and given harmony of Paganini's theme; thus the variation techniques used are mainly of harmony, rhythm, and character.

Works: Johannes Brahms: Variations on a Theme of Paganini, Op. 35; Ferrucio Busoni: An die Jugend (7); Ignaz Friedman: Studies on a Theme of Paganini, Op. 46b; Franz Liszt: Etudes d'execution transcendente d'après Paganini (7), Grosse Paganini-Etuden; Robert Schumann: Studies after Caprices of Paganini, Op. 3 (7), 6 Concert Etudes after Caprices of Paganini, Op. 10 (7).

Index Classifications: 1800s, 1900s

Contributed by: Jean Pang

In the early 1930s, Schoenberg transcribed and recomposed compositions of the Baroque era to reaffirm his position in the lineage of German composers during a time when Germany was under the government of the National Socialists. Schoenberg described his Concerto for String Quartet and Orchestra as "freely transcribed" from Handel's Concerto Grosso, Op. 6, No. 7. Its reworking is different from that of Schoenberg's arrangements of Bach and Brahms, as it alters the original much more, using techniques such as reharmonization, the addition of contrapuntal parts, and compressing and expanding the material. Schoenberg reinterprets Handel's music most freely in the third movement. In so doing, he created a duality between the past and the present and contrasted Baroque tonality and compositional techniques with the chromatic/atonal traditions of the twentieth century. Schoenberg also transposed the third movement to a new key, changed the tempo from Andante to Allegro grazioso, and imposed a formal Sonata-Allegro plan onto the material. This work suggests Schoenberg's identity crisis as German and Jewish as well as the larger social and cultural world of the 1930s (specifically 1933), when the work was composed.

Works: Schoenberg: Cello Concerto (264, 285-86), Concerto for String Quartet and Orchestra (265-69, 271, 287-313).

Sources: Georg Matthias Monn: Keyboard Concerto F. 41 (264); Handel: Concerto Grosso, Op. 6, No. 7 (265-66, 287-313).

Index Classifications: 1900s

Contributed by: Marc Geelhoed, Matthew Altizer

The technology of digital sampling challenges our traditional understanding of authorship, and the resulting ambiguities are reflected in our cultural and political environment. For instance, when the group Frankie Goes to Hollywood sampled Led Zeppelin's drummer John Bonham for their recording of Relax, who was the author? Was it John Bonham (who was deceased at the time)? Was it the sampling software? Donna Haraway, in her "Manifesto for Cyborgs," has argued that high-tech culture problematizes many of the binarisms built into our culture, and such destabilization can be politically useful. One artist who has exploited technology for politically useful ends is Laurie Anderson. In her film Home of the Brave she opens by lecturing the audience through a synthesized "male" voice, blurring the binarism of gender. She also samples the voice of William S. Burroughs, who is also silently present for one scene, playing with the dualism of recording and "liveness." Throughout her film, she goes on to challenge other dualisms such as speaking/singing, self/other, author/reader, and person/machine. Anderson's work provides a glimpse of the effect that technology can have on politics and culture.

Works: Frankie Goes to Hollywood (Peter Gill, Holly Johnson, Brian Nash, Mark O'Toole): Relax (31); Bobby Freeman (songwriter), Ula Hedwig (performer): Do You Wanna Dance (33); Bobby Freeman (songwriter), Bette Midler (performer): Do You Wanna Dance (33); Laurie Anderson: Home of the Brave (37-41).

Sources: Bobby Freeman (songwriter), Bette Midler (performer): Do You Wanna Dance (33); Bobbie Freeman (songwriter and performer): Do You Want to Dance (33).

Index Classifications: 1900s, Popular

Contributed by: Kerry O'Brien

In Debussy and Wagner (1979), Robin Holloway seeks out those passages in Debussy which recall or which can be viewed as quotations of passages in Wagner. Some of the cases seem forced. Some compositions by Holloway himself include references to the music of Debussy and Wagner and others.

Works: Debussy: Pelléas et Mélisande (83), "Golliwog's Cake-Walk," from Children's Corner (83), La Damoiselle élue (84), Le Martyre de Saint Sébastien (84), Jeux (84-85,88); Holloway: Clarissa (88-90), Scenes from Schumann: Seven Paraphrases for Orchestra (90), Romanza (90-91).

Sources: Wagner: Tristan und Isolde (83-84), Parsifal (84, 88-90); Debussy: Jeux (88-90); Beethoven: Symphony No. 5 in C minor (90-91); Bach: D major fugue from the Well-Tempered Clavier, Book Two (91).

Index Classifications: 1900s

Contributed by: David C. Birchler

During a discussion of twelve-tone counterpoint, it is noted that the "Contrapunctus Secundus" from Luigi Dallapiccola's Quaderno Musicale di Annalibera is a gloss on the second movement of Webern's Piano Variations, Op. 27.

Works: Dallapiccola: "Contrapunctus Secundus," Quaderno Musicale di Annalibera (38-40).

Sources: Webern: Piano Variations, Op. 27 (33-40).

Index Classifications: 1900s

Contributed by: J. Peter Burkholder

Index Classifications: 1900s

Through the simulation and essentialization of recognizable folk-musical traits, several Eastern European nations competing at the Eurovision Song Contest in the early 2000s were successfully able to represent, misrepresent, or brand the ethnic folk traditions of their home nation. The Eastern European countries that consistently won the contest between 2001 and 2007 played upon Western stereotypes of the East by incorporating stylized national music, instruments, and ethnic musical characteristics into their song entries. In doing so, they created a distinctively alternative sound to the modern musical styles (such as pop, rock, or disco) featured in the Western countries’ entries. In particular, the Ukrainian singer songwriter Ruslana exemplifies this kind of simulation and essentialization, with her winning entry Wild Dances making use of various traditional instruments, folk-inspired performance practices, and stylistic allusions to Hutsul traditional music that she collected during her ethnographic field work in the Carpathian Mountain region. Her entry is both an example of simulation, as she is presenting a commercialized and stylized version of traditional folk music, and an example of essentialization because her entry only represents a small demographic within Ukraine. Other winning entries, such as Željko Joksimovi’s Lane Moje, also incorporate ethnic folk elements and folk musical tropes.

Works: Ruslana: Wild Dances (175-77, 180, 184); Željko Joksimović: Lane Moje (178), Lejla (178), Call Me (178); Boris Novković: Vukovi umiru sami (179-80).

Sources: Damir Lipošek, Vedran Božić, and Husein Hasanefendić: Moja domovina (179-80).

Index Classifications: 1900s, 2000s, Popular

Contributed by: Cynthia Dretel, Matthew G. Leone

In a discussion of three of his saxophone concertos, David Baker describes Ellingtones: A Fantasy for Saxophone and Orchestra as "an attempt to capture the spirit and feel of Duke Ellington." In the first movement, the piece features quotations of the A sections of Ellington's Caravan,Drop Me Off in Harlem, and Minnehaha, while fragments from other songs are used as linking materials. The second movement uses Ellington's All Too Soon not only as one of the themes but also as music heard underneath the saxophone solo. Movement III introduces Ellington's It Don't Mean a Thing If It Ain't Got That Swing in the introduction. Baker describes his treatment of the theme as "Morse-code-like." He then presents six variations on the borrowed tune's ground bass, which he refers to as a passacaglia.

Works: Baker: Ellingtones: A Fantasy for Saxophone and Orchestra.

Sources: Ellington: Caravan (106), Drop Me Off in Harlem (106), Minnehaha (106), All Too Soon (106), It Don't Mean a Thing If It Ain't Got That Swing (107).

Index Classifications: 1900s, Popular

Contributed by: Eytan Uslan

Quoted musical fragments are as deep in symbolic content as Freudian symbols of "dream-text" fragments. A distinction is made between quoted musical matter that involves words and quoted musical matter that does not. Quotations of untexted music, such as "Westminster Chimes" in Ives's Second String Quartet and the opening motive of Beethoven's Fifth Symphony in Ives's Second Piano Sonata ("Concord"), evoke philosophical associations but not literary meaning. But quoting texted music, such as the songs Ives uses in his Fourth Symphony and his song West London, provides a deeper meaning if the listener knows the original words. Different structures of meaning exist for various listeners in a work that utilizes borrowed materials: (1) abstract, which concerns purely musical relationships; (2) programmatic, eliciting extra-musical associations; and (3) musico-philosophical, uniting all levels of perception and transcending both abstract musical relationships and programmatic images. Ives's Central Park in the Dark and Washington's Birthday illustrate the way in which these levels work. Although in some cases Ives may have borrowed material for structural and thematic reasons, he was still undoubtedly exploiting the connotations of this borrowed material to incorporate different levels of meaning into his music.

Works: Ives: String Quartet No. 2 (171-72), Piano Sonata No. 2: Concord, Mass., 1840-60 (172), West London (173-74), Fourth Symphony (174-76).

Sources: "Westminster Chimes" (171-72); Beethoven: Symphony No. 5 in C minor (172); "There is a fountain" (173-74); Lowell Mason: "Bethany" (174-75), "Watchman" (175); Arthur Sullivan: "Proprior Deo" (175-76).

Index Classifications: 1900s

Contributed by: Lee Ann Roripaugh, Fredrick Tarrant, Paula Ring Zerkle

Throughout his career, Olivier Messiaen extensively used musical borrowing as a compositional technique and described how borrowing fit in his compositional process. By analyzing Messiaen’s career-long borrowing of Debussy material—musical themes, harmonies, programs, and gestures—a more complete picture emerges of Messiaen’s relationship to Debussy’s music and of Messiaen’s borrowing practice in general. Evidence of Messiaen’s borrowing can be found in three areas: the music he composed, the music he analyzed, and his writings. Comparing evidence from these areas allows for the identification of transformed and obscured instances of borrowing. Although much of Messiaen’s borrowing is similar to Ives’s collage and patchwork techniques, his material is made to be unrecognizable in what Messiaen calls a “transforming vision” or “deforming prism.” Debussy held a special place in Messiaen’s music and analytical writings. In Technique de mon langage musical, Messiaen gives many examples of harmonic passages in his music derived from Debussy’s Pelléas et Mélisande and others. Messiaen’s unusual candidness in revealing his sources, combined with his penchant for writing programs for his music, invites deeper hermeneutic readings of many of his works. However, the programmatic meanings of his sources often contrast with the meanings of the works he uses them in. Alternatively, the sources may have only personal significance to Messiaen and no programmatic connection. Aside from harmonic and programmatic borrowing, Messiaen also borrows specific keyboard gestures from Debussy. Messiaen’s use of borrowing as a compositional tool often goes beyond transforming individual sources. In many works, Messiaen combines harmonic or rhythmic material from several sources. In the case of Livre du Saint Sacrement, he borrows from Debussy’s Images as well as plainchants from Paroissien romain (Liber usualis), distorting both through a technique of harmonic litany (a process of repeating a melodic fragment with different harmonization) in order to create music representing transubstantiation. Reassessing Messiaen’s compositional process in light of his prolific musical borrowing allows for an understanding of his music that better situates it in historical context. Whereas critics have questioned Messiaen’s reliance on borrowed material as well as his reliance on compositional formulas, the demonstrated combination of these techniques yields a complex compositional method. Messiaen’s borrowing of Debussy suggests a need to place greater attention on the practice of musical borrowing in modern music.

Works: Messiaen: Visions de l’Amen (703-7, 711-16, 731-36, 740-44, 759-63), Vingt regards sur l’Enfant-Jésus (703-7, 744-46), Cinq rechants (707-11, 746-49), Préludes (719-25, 740-44, 761-65), Poèmes pour Mi (719-25, 725-26, 761-65), Nativité du Seigneur (726-31, 755-60), Rondeau (726-31, 736-40), La Sainte Bohème (726-31), Chœurs pour une Jeanne d’Arc (731-36), Trois petites liturgies de la Prèsence Divine (736-40), L’Assension (740-44), Cantéyodjayâ (740-44), Livre du Saint Sacrement (744-46, 767-74), Harawi (750-52, 752-55), Catalogue d’oiseaux (753-55), Turangalîla-Symphonie (755-60), Messe de la Pentecôte (759-63), Saint François d’Assise (759-63), Chants de terre et de ciel (767-74)

Sources: Rameau: Suite in E (703-7); Debussy: Préludes (707-11, 744-46), Pelléas et Mélisande (718-20, 719-25, 725-26, 726-31, 731-36, 750-52, 755-60), Prélude à l’après-midi d’un faune (737-40), Images (740-44, 746-49, 753-55, 759-63, 761-65, 765-67), Études (744-46), Trois chansons de Bilitis (767-74); Anonymous (transcribed by Joanny Grosset): Jâti ândhri (707-11); Liszt: Après une lecture de Dante (711-16); Massenet: Manon (711-16); André Jolivet: Cinq danses rituelles (746-49); Stravinsky: Les noces (750-52); Anonymous (transcribed by Marguerite Béclard d’Harcourt): Delirio (752-55); Ravel: Daphnis et Chloé (755-60); Plainchant from Paroissien romain (Liber usualis): Quotiescumque manducabitis panem hunc (767-74)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1900s, Jazz

An analysis of Leonard Bernstein’s numerous arrangements of George Gershwin’s Rhapsody in Blue, which he made throughout his career, illustrates Bernstein’s controversial conviction that the piece was structurally flexible. They also reflect Bernstein’s ambivalent relationship with the piece and with Gershwin, which is also evident in his interviews and essays. Bernstein’s earliest arrangement was written in 1937, when he was still a teenager, and his 1959 recording of the performance with the BBC is one of the best-known versions of the piece today. Certain omissions, stylistic aberrations, reorchestrations, and score annotations in Bernstein’s arrangements offer clues to his developing relationship with the piece and potentially to which editions of the score he knew best.

Works: Leonard Bernstein (arranger): Rhapsody in Blue [1959 version] (75-77, 90-92), Rhapsody in Blue [1937 version] (82-89), Rhapsody in Blue [1938 version] (90).

Sources: George Gershwin: Rhapsody in Blue (73-96).

Index Classifications: 1900s, Jazz

Contributed by: Molly Covington

By the 1960s, Rhapsody in Blue was generally not considered authentic to the African American jazz tradition, as it had become a standard of the more classicized genre of “symphonic jazz.” Duke Ellington was one of the few African American composers to engage with the piece regularly over the course of his career, allowing us to trace his relationship to the music over time. On his 1963 album Will Big Bands Ever Come Back?, Ellington and co-arranger Billy Strayhorn sought to create a more authentic, less classicized version of the piece through the reorchestration and reorganization of musical themes and by recasting the piano part in a more typical jazz role, comping chord changes and taking improvised solos. This 1963 arrangement stands apart from Ellington’s earlier arrangements of the piece. The earliest, from 1925, differs little from Ferde Grofé’s popular 1924 arrangement for the Paul Whiteman Orchestra, and it was likely thought of as a crowd-pleaser in a time when the Ellington band worked primarily on tips. His 1932 arrangement was likely also composed to please audiences, but here Ellington is more harmonically and thematically experimental, while maintaining the overall structure of the original. Ellington’s 1963 version was described by David Schiff as a “brilliant act of deconstruction—and renewal.” Ellington and Strayhorn’s arrangement was meant to be a historical retrospective as much as anything, and it achieves its historicism through stylistic allusions to earlier styles of both “black” and “white” jazz. But an even more telling historical narrative of jazz at large may be traced in the stylistic progression of Ellington’s three arrangements.

Works: Duke Ellington (arranger and performer): One O’Clock Jump (97), Woodchopper’s Ball (97), Rhapsody in Blue [1925 version] (101-3), Rhapsody in Blue [1932 version] (104-10); Duke Ellington (arranger and performer) and Billy Strayhorn (arranger): Rhapsody in Blue [1963 version] (110-17); Robert Sadin (arranger) and Marcus Roberts (performer): Rhapsody in Blue (115).

Sources: George Gershwin: Rhapsody in Blue (97-115); Count Basie: One O’Clock Jump (97); Woody Herman: Woodchopper’s Ball (97); Ferde Grofé (arranger): Rhapsody in Blue (101, 107).

Index Classifications: 1900s, Jazz

Contributed by: Molly Covington

George Gershwin’s Rhapsody in Blue has been used in many visual contexts such as films, television programs, and advertisements, and in the process has gained a sort of inherent meaning associating it with success, the American Dream, New York, and modernity. The visual usage of the music then capitalizes on these new meanings. It was Woody Allen’s film Manhattan in 1979 where the piece, along with other Gershwin songs, was strongly associated with New York City, later reinforced by Scorsese’s Bringing Out the Dead and Disney’s Fantasia 2000. Tied to the connection with New York, the piece is also an emblem for success. The association with success is then further reaffirmed by the usage of Rhapsody in Blue in United Airlines’s longstanding advertising campaign. At first, the piece was used to evoke class and elegance, but over the course of the ad campaign the piece began to signify the success of an American-based airline as the commercials couched the music in different styles like East Asian and western fiddle two-step. Later advertisements in the early 2000s used Rhapsody to harken back to United’s past during a period of economic downturn and bankruptcy and focus on an uplifting and rebirth of the airline. United also used the music in a physical space in the O’Hare airport terminal to emphasize the “fun” of air travel, though it was far removed from the original work.

Works: Irving Rapper (director): Rhapsody in Blue (149-50); Woody Allen (director): Manhattan (149-53); United Airlines: advertising campaign 1987-present (“Nation’s Business”, “Pacific Song”, “Playing Our Song”, “Mileage Plus”, “Rising”, “It’s Time to Fly”, “Interview”, “Dragon”, “Heart”) (149, 158-73); Eric Goldberg, et al (directors): Fantasia 2000 (149, 153); Martin Scorsese (director): Bringing Out the Dead (153); Mark Kirkland (director): The Simpsons: “Elementary School Musical” (155-56); Brad Falchuk (director): Glee: “New York” (155-56); Baz Luhrmann (director): The Great Gatsby (156-58); Gary Fry: Rhapsody Ambiance (170-72).

Sources: Gershwin: Rhapsody in Blue (148-73).

Index Classifications: 1900s, 2000s, Jazz, Film

Contributed by: Emily Baumgart

See especially "Folk Music in Iglau," in which Mahler's allusions to folk tunes and folk types are discussed.

Index Classifications: 1800s, 1900s

Contributed by: David C. Birchler

Both Percy Grainger and Frederick Delius set folksinger Joseph Taylor's rendition of the English folksong Brigg Fair.Brigg Fair is related to two other English folksongs, Maria Marten and Dives and Lazarus.Dives and Lazarus sometimes bears the title Come all you Faithful Christian Men, or in the Irish tradition, The Star in the Country.The Jolly Miller is a variant of the same melody. Grainger originally collected the folksong from Taylor in 1905 and made his setting, Brigg Fair, for tenor and mixed chorus in 1906. Delius's setting, in his Brigg Fair: An English Rhapsody, was inspired by Grainger's earlier setting and dates from 1907. Delius's setting borrows ideas from Grainger's but does not copy it stylistically.

Index Classifications: 1900s

Contributed by: John Andrew Johnson

In a study of George Gershwin's historical relationship with jazz, it is suggested that the composer's songs continue to be attractive to jazz musicians because of their rhythmic, melodic, harmonic, and formal characteristics. For instance, Gershwin tended to repeat notes in his melodies, allowing for the performer to embellish harmonically and rhythmically, as was exemplified by Billy Holiday's recording of Oh, Lady Be Good! In other instances, Gershwin songs are favored because their harmonies can be separated from their melodies, as in Nice Work If You Can Get It. Songs like Somebody Loves Me and The Man I Love contain repeated four-measure phrases, a characteristic musical succinctness that improvisers have long found inviting.

Works: George Gershwin: How Long Has This Been Going On? (188, 200), I Got Rhythm (188, 190, 201), They Can't Take That Away From Me (188-90, 200), A Foggy Day (188-90, 198, 201), Fascinating Rhythm (188,199), Oh, Lady Be Good! (189-90, 193-94, 196-97, 200), Nice Work If You Can Get It (190, 195-96, 198, 201), Bess, You Is My Woman Now (193, 200), The Main I Love (193-94, 197, 200-201), But Not For Me (193), Summertime (195,197, 201), Embraceable You (197, 199, 200-201), Somebody Loves Me (197-98, 200-201), Liza (198), Someone To Watch Over Me (198), Soon (198), Our Love is Here To Stay (198), 'S Wonderful (200).

Index Classifications: 1900s, Jazz, Popular

Contributed by: Eytan Uslan

A pentatonic archetypal theme is found in Mahler's music. The archetype may be considered as a private symbol, the "musical expression of some recurrent pattern of exprience." Ninety-two examples of the archetype, often in varied form, are presented. Buddhism and Hegel's concept of das unglückliche Bewusstsein may account for the ubiquity of the idea.

Works: Mahler: Songs of a Wayfarer (310), Das Lied von der Erde (311-12, 314-15), Symphony No. 1 in D Major (313).

Sources: Anonymous: La bergère que je sers (310), Frère Jacques (313).

Index Classifications: 1800s, 1900s

Contributed by: David C. Birchler

Analyzing the music of Billy Strayhorn introduces many issues related to historicizing race, sexuality, and gender identity in the context of mid-century jazz. Two works in particular—Strayhorn’s songs for Federico García Lorca’s The Love of Don Perlimplin for Belisa in Their Garden and Strayhorn and Duke Ellington’s adaptation of Tchaikovsky’s Nutcracker Suite—involve a fictive collaboration with gay figures from the past and address issues of black queer identity and desire. In fall 1953, Strayhorn composed four pieces for a production of Perlimplin by the Artist’s Theatre collective in Greenwich Village. Strayhorn’s music effectively sets the queer topics of Lorca’s text and the Artist’s Theatre production. Strayhorn’s collaboration with Ellington on an arrangement of The Nutcracker Suite to be released as an LP in 1960 also deals with issues of queer aesthetics. For one, working with a removed (dead) collaborator points to the asynchronicity or queer temporality that shaped Strayhorn’s work. Although some critics panned the LP as a crude parody, Strayhorn’s reworking of Tchaikovsky’s music is sophisticated in its relocation and translation of the original text. For instance, in the Arabian Dance movement, Arabesque Cookie, Strayhorn transforms Tchaikovsky’s sonic signifiers of exotica into modern jazz signifiers, akin to tunes like Caravan. Arabesque Cookie can also be likened to the blend of primitivism and stylized modernity of the queer black dandy as well as Afro-Orientalist imagery in Hollywood films. Overall, Strayhorn’s work on Perlimplin and his arrangement of The Nutcracker Suite provide a new queer historical framework for understanding his position in the Ellington Orchestra and the way his personal relationship with Ellington is portrayed in literature.

Works: Billy Strayhorn (with Duke Ellington): The Nutcracker Suite (793-813)

Sources: Tchaikovsky: The Nutcracker Suite (793-813)

Index Classifications: 1900s, Jazz

Contributed by: Matthew Van Vleet

Varèse's composition Density 21.5 is in the truest sense musical parody, as it uses another work as its structural basis: Debussy's Syrinx. Structural similarities exist between the two pieces, such as the use of the two whole-tone scales as basic pitch collections. Though Varèse himself never explicitly confirmed this connection, Density may be read as a commentary upon Debussy's piece.

Works: Varèse: Density 21.5.

Sources: Debussy: Syrinx.

Index Classifications: 1900s

Contributed by: Susan Richardson

A dynamic or cyclical notion of influence allows for a more sophisticated approach to understanding the relationship between twentieth-century classical music and Miles Davis’s Kind of Blue. While numerous scholars have generated a long list of influences to Davis’s album, multiple techniques and sources invite further consideration. There are three categories of art music that serve as sources to Kind of Blue: late-romantic and impressionist music, American classical modernism, and Stravinsky ballets. In the first category, Rachmaninoff’s and Ravel’s works include general harmonic, intervallic (specifically concerning vamp patterns), and tonal elements that can be found in the songs So What and Flamenco Sketches, while Khachaturian’s use of non-diatonic melodies over tonal harmonies can be found across Davis’s entire album. In the second category, widely spaced leaps and upper-register sonorities from Copland’s music of the 1940s can be found in So What. In the final category, Stravinsky's ballets provide a procedure of fragmentary melodic variation that relates to Davis’s own “melodic variation” in his solos on every song. That these particular classical styles influence Kind of Blue on different levels indicates that “modal” jazz is a meaningful term to describe the album's musical language.

Works: Miles Davis: Kind of Blue.

Sources: Ravel: Piano Concerto for the Left Hand (53-56), String Quartet in F Major (56-57); Rachmaninoff: Piano Concerto No. 4, Op. 40 (53-57); Khachaturian: Gayane Suites (57-58); Debussy: Images No. 1 (“Reflets dans l'eau”) (58); Copland: Fanfare for the Common Man (58), Appalachian Spring; Stravinsky: The Rite of Spring (59-60), Petrushka (59-60).

Index Classifications: 1900s, Jazz

Contributed by: Nathan Blustein

Following his health and conducting crises in 1900, Mahler turned to Beethoven's Fifth Symphony as a model for his own Symphony No. 5. The opening motive of the Beethoven symphony serves to unify the entire symphony, and the opening trumpet motto of Mahler's symphony serves a similar function. That motto is itself based on Beethoven's opening motive, and the key regions Mahler uses are the same as Beethoven (the second movement of both is in the submediant). The Trauermarsch of the second movement is a varied form of the first movement's, which is similar to the way the Scherzo in the Beethoven is based on an altered form of the symphony's opening motive. The moments in Mahler's work when earlier material returns are based on Beethoven's practice.

Works: Mahler: Symphony No. 5 in C sharp Minor (51-66), Symphony No. 2 in C Minor (52-53), Symphony No. 1 in D Major (58).

Sources: Beethoven: Symphony No. 5 in C Minor (51-55, 57, 61-2); Mahler: Kindertotenlieder (58, 60), Des Knaben Wunderhorn (59), Rückertlieder (59-60); Wagner: Tristan und Isolde (60); Mahler: Symphony No. 4 in G Major (65).

Index Classifications: 1900s

Contributed by: Marc Geelhoed

Rap music, and in particular the practice of sampling in rap music, can be grounded within a larger context of African-American interest in imitation. Early examples of imitation in slave culture suggest interests similar to sampling, namely the desire to reconfigure aspects of dominant culture into strictly African-American forms. Sampling can be seen as a way to archive interactive historical material. Rap artists use new language to describe their use of samples, and acknowledge their sources to avoid legal trouble. EMPD, for example, thanks their sources and introduces their raps by indicating which pre-existing compositions the new rap embodies.

Index Classifications: 1900s, Jazz

Contributed by: Felicia Miyakawa

Index Classifications: 1900s

Contrary to popular belief, composing new works with existing folk music is a rather difficult task. Borrowing a folk melody requires not only to stay true to the original peculiarity of the music, but the unique character of the music also complicates its use in a new composition. Some have suggested that folk tunes can simply exist as musical themes in compositions if the composer has a lack of inspiration. However, the need to have musical themes in music is a nineteenth century ideal. Bach and Handel modeled their compositions after predecessors, and their new compositions were so different from their models that the originals are easily forgotten. A contemporary composer can borrow from folk music in the same way. Folk music can be used to develop musical styles without the need to force the music in conventional forms. It requires great skill and knowledge to use folk music in compositions.

Index Classifications: General, 1900s

Contributed by: Nicolette van den Bogerd

The definition of folk music is music of the population that is least affected by city culture, and music of great temporal and spatial extent. It is generally believed that Chopin and Liszt were the first composers who were inspired by folk music, but the term folk music does not accurately describe the influence on their music. Although these composers were certainly influenced by aspects of folk music, a truer characterization of this music is popular folk music. Pure folk music did not influence art music until the end of the nineteenth century and the beginning of the twentieth century, and particularly in the music of Debussy and Ravel. These composers used idioms from Eastern European and Eastern Asian folk music, which paved the way for composers such as Stravinsky and Kodály. True folk musical influences are characterized not by the use of folk melodies, but rather by an understanding of the inherent spirit of folk music.

Works: Stravinsky: Pribaoutki (318-19).

Index Classifications: General, 1900s

Contributed by: Nicolette van den Bogerd

Folk music has been used as source material for composers of many eras. Composers of the Viennese classic period were influence by and used folk music in their compositions; for example, Beethoven's Symphony No. 6 uses a Yugoslavian dance melody for the primary theme. Other composers who used folk material include Chopin, Smetana, Dvořák, and Mussorgsky. In the twentieth century, composers began to collect or study folk music in an attempt to integrate that music into their style. Three possibilities exist for the use of folk materials in Western art music. A composer can simply compose an accompaniment for an existing folk melody, a newly composed melody can take on folk characteristics, or folk music can be integrated into the style of a composer to such an extent that neither folk melodies or imitations of folk melodies are used, but the composer's works are imbued with the style of peasant music.

Works: Beethoven: Symphony No. 6 in F Major, Pastoral (340); Liszt: Hungarian Rhapsodies (340); Stravinsky: Le Sacre du Printemps (343); Kodály: Psalmus Hungaricus (344).

Index Classifications: 1900s

Contributed by: Christopher Holmes

It is commonly known that Hungarian art music is heavily influenced by folk music. There are a few distinctions in how this occurs. Contrary to popular belief, the simple insertion of folk tunes in art music does not constitute influence. Rather, composers acquire the Hungarian folk idiom like a native language, and the use of folk aspects occurs naturally and subconsciously. In Bartók’s music, there are three categories of musical transcription. The first includes a piece of music in which the original folk tune is more dominant than the newly composed material. The second category includes music in which both folk music and newly composed art music are equal. The final category is the transcription of folk music that takes on the form of an original work.

Works: Bartók: Suite, Op. 14 (350), Rumanian Folk Dances (352), Improvisation on Hungarian Peasant Songs, Op. 20 (352).

Sources: Kodály: Háry János (352); Bartók: For Children (352).

Index Classifications: General, 1900s

Contributed by: Nicolette van den Bogerd

There is a distinct difference between popular art music and real folk music. Authentic folk music (better identified as peasant music) comprises melodies that are representative and uniform among the peasant class in a nation. It is a natural phenomenon that is instinctive, and requires artistic perfection. Conversely, popular art music is derived from primarily Western art music and a hint of peasant music, giving the music an exotic flavor. Nationalism in the nineteenth century increased the demand for a national sound, but rather than looking at peasant music, the focus was on popular art music. Composers of art music rarely encountered authentic peasant music, and, as such, the vague allusion to peasant music is essentially an obscured view of the original.

There are some composers whose music originates in peasant music, most notably Mussorgsky, Stravinsky, and even Beethoven. While Stravinsky’s Le sacre du printemps is likely one of the best examples of works to include authentic peasant music, Stravinsky still attempts to put peasant music in a structure it was not meant to be in, thereby ignoring musical characteristics inherent to the music he borrows. In numerous symphonies by Haydn, Beethoven, and Mozart, Slavonic peasant music is suggested, primarily the final movements. Croatian melodies are found in Haydn’s Symphony No. 104 in D Major, as well as in two movements of Beethoven’s “Pastoral” Symphony.

Works: Stravinsky: Le sacre du printemps (325); Haydn: Symphony No. 104 in D Major (328); Beethoven: Symphony No. 6 in F Major (“Pastoral”), Op. 68 (328).

Sources: Franjo Ksaver Kuhač: Južno-slovjenske narvodne popievke (327).

Index Classifications: General, 1900s

Contributed by: Nicolette van den Bogerd

Index Classifications: 1900s

Benjamin Britten's 1963 Nocturnal after John Dowland for solo guitar is a set of variations on Elizabethan composer John Dowland's 1597 lute song Come Heavy Sleep. Unlike most theme and variation forms, however, the theme appears at the end, rather than the beginning of the composition. The eight variations, based on melodic fragments of Dowland's song, depict various stages of insomnia, and have the character of fleeting, nightmarish episodes. The interaction of notes, chords, and keys a semitone apart is a salient feature of the variations. The tension generated by this dissonant harmonic relationship dissipates when Dowland's song is quoted at the end of the composition.

Works: Britten: Nocturnal after John Dowland (35-40, 46-48).

Sources: Dowland: Come Heavy Sleep (46-48).

Index Classifications: 1900s

Contributed by: Scott Grieb

The enthusiasm the young Bartók displayed for the music of Richard Strauss is attested by the extent to which Bartók emulated the orchestral decorativeness as well as the déjà vu effect of Strauss. A deeper relationship also exists, demonstrated by Bartók's incorporation of harmonic and structural elements of Strauss's Also Sprach Zarathustra into his early operatic works, not so much for the surface effect as to underscore the philosophical kinship both composers shared with Nietzsche.

Works: Bartók: 14 Bagatelles (203), Suite No. 1 (204-5), Bluebeard's Castle (206), The Wooden Prince (207).

Index Classifications: 1900s

Contributed by: Amy Weller

Index Classifications: 1900s, 2000s

Index Classifications: 1900s

Film score composers are often required to compose forty minutes worth of music in several weeks time, necessitating the use of previously invented music or the liberal borrowing of others' previously written music. The fragmented form of film music often discourages developed themes on large compositional canvases, but calls for the use of "mere snatches of music." Using the widely understood extramusical associations of previously written music, the first film score composers often borrowed easily recognizable music, conveying meaning quickly to early moviegoers. The "Bridal Chorus" from Wagner's Lohengrin was used to seal holy matrimony, Beethoven's Moonlight Sonata for moonlit nights and calm waters, and Rossini's William Tell Overture to underscore Western cowboy heroics, creating a language of musical cliché for generations of film score composers to come. With all art, both serious and popular, becoming an amusement commodity for leisure-time activity, the film industry has absorbed the materials of traditional art in order to imbue its product with all the outer trappings of genuine culture.

Works: Stanley Kubrick: compilation score to 2001: A Space Odyssey; Wendy (Walter) Carlos: score to A Clockwork Orange (35); Leonard Rosenman: score to Fantastic Voyage (39); Ezra Laderman: score to The Eleanor Roosevelt Story (38); Elmer Bernstein: score to The Magnificent Seven (75); Lalo Schifrin: score to Cool Hand Luke (75); Toru Takemitsu: score to Woman in the Dunes (78); Hanns Eisler: score to Hangmen Also Die (84).

Index Classifications: 1900s, Film

Contributed by: Kathleen Widden

Index Classifications: 1900s, Jazz

Stanley Cavell’s style of philosophical writing, which incorporates numerous borrowings of other philosophical texts, can be likened to musical borrowings by Ignaz Friedman, Luciano Berio, and Richard Beaudoin. Borrowing strategies in both music and philosophical texts exist along a continuum of borrowing procedures, with points such as “works without explicit borrowing,” “local borrowing,” and “critical borrowing.” Within this continuum, Cavell mostly employs “local,” “structural,” and “critical” borrowing procedures. There is a long tradition of philosophers who have engaged with “writing about the writings of other writers,” though Cavell takes this stylistic trait to an extreme; in fact, his writings involve using the words of others to such a high degree that some might consider there to be little of his own “self” remaining. The borrowing procedures of Cavell’s Philosophy the Day After Tomorrow can be likened to Ignaz Friedman’s Gavotte from the Sixth Sonata for Violin by J. S. Bach Arranged for Piano. Both of these works employ lengthy quotations to play a sophisticated game of meaning with their sources, with the composer serving as a sort of “intellectual guide” along the way. Cavell’s procedures of borrowings in Philosophical Passages are similar to those of Berio’s Sinfonia. Both borrow from one main literary document, ignoring major parts of the original source, and include material of their own making alongside the borrowed material. Finally, borrowing procedures in Cavell’s Philosophical Passages can also be likened to the author’s own Etude d’un prelude IV—Black Wires. Both approaches to borrowing involve nested histories and commentaries, which act like a dialog between authors who never coexisted. Borrowings—both musical and literary—are important because they reveal essential aspects of their transcribers.

Works: Ignaz Friedman: Gavotte from the Sixth Sonata for Violin by J. S. Bach Arranged for Piano (95-97); Luciano Berio: Sinfonia (98-99); Richard Beaudoin: Etude d’un prelude IV—Black Wires (99-102).

Sources: Johann Sebastian Bach: Partita in E, BWV 1006 (95-97); Chopin (composer) and Martha Argerich (performer): Prelude in E Minor, Op. 28, No. 4 (100-102).

Index Classifications: 1900s

Contributed by: Chelsea Hamm

Riethmüller aims to outline Busoni thought patterns by analyzing two works, the Second Violin Sonata, Op. 36a, completed in 1898, and the Improvisation for Two Pianos on Bach's Chorale-Song 'Wie wohl ist mir,' composed in 1916. The Improvisation reworks material from the Second Violin Sonata. The structure of the variations in the third movement of the violin sonata is modeled on Beethoven's Piano Sonata, Op.109. Riethmüller misses the fact that the opening notes of the Bach chorale are identical to the bass line of Beethoven's variation theme, and hence serve in Busoni's sonata as a good example of Busoni's idea of "the Oneness of Music." Riethmüller points out the "latent characteristic of quotation in Busoni's music," and discovers the borrowing of sketches for an unfinished piano work in the chorale variations and the borrowing from Bach's Trauerode, BWV 198 in the opening of Busoni's third movement. Riethmüller analyzes the Improvisation in terms of borrowing from the violin sonata, calling it obscurer, more aggressive, and more enigmatic. But the relationship of the two works is more like "that of a healthy mother to a very sickly child," since the average listener does not know its antecedent in detail and since some passages are incoherent and illogical.

Works: Busoni: Second Violin Sonata, Op. 36a, (571-73), Improvisation for Two Pianos on Bach's Chorale-Song 'Wie wohl ist mir' (573).

Sources: J.S. Bach: "Wie wohl ist mir" from Notenbuch für Anna Magdalena Bach (571), Trauerode, BWV 198 (572), Beethoven: Piano Sonata, Op. 109 (571), Busoni: Second Violin Sonata, Op. 36a (573).

Index Classifications: 1800s, 1900s

Contributed by: Daniel Bertram

In the current “post-sampling” era of digitalized popular music production, the practice of sampling exists withing a spectrum of musical practice, and the intermingling of practices has implications for the legal, moral, and aesthetic aspects of sampling. The basic legality of sampling—is a copyrighted recording cleared to use or not—is a technical question, but often the similarity between a musical work and the source of a sample is marginal at best (unlike in examples of plagiarism). Sampling law also favors copyright holders over the musicians whose contribution is sampled. The morality of sampling is discussed by musicians across genres, with significant overlap in how originality and copying are treated in other forms of musical borrowing. Distinctions between legitimate and illegitimate practices are made through generic codes, but there are grey areas to consider. The wide availability of digital sampling has made the sampling aesthetic a significant part of popular music production. The resulting cultural shift in attitudes toward sampling—post-sampling—is widespread but unevenly realized in moral and legal discourse.

Works: The Verve: Bittersweet Symphony (225-26).

Sources: Rolling Stones: The Last Time (225-26).

Index Classifications: 1900s, 2000s, Popular

Contributed by: Matthew Van Vleet

Michael Finnissy’s wide-ranging borrowing of various traditional musics in his Folklore cycle and Unsere Afrikareise from The History of Photography in Sound invite multiple hermeneutical readings revolving around two dichotomies: art versus folk music and Western versus non-Western music. In Unsere Afrikareise, Finnissy juxtaposes fragments of Moroccan, Ethiopian, and Venda traditional music with fragments of Mozart and Schubert dances. Finnissy’s work emphasizes the historical, colonialist link between the African and European traditions, complicating notions of musical otherness. Folklore extends this engagement with the politics of colonialism. A running theme in Folklore is the implication that folk music is often seen as inferior to art music. Finnissy borrows from a wide variety of musical cultures, transforming borrowed material through transcription and arranging it in multi-layered montages. This approach challenges the boundaries between familiar and “foreign” music and invites a personal and subjective approach to different cultures.

Works: Maarten Beirens: The History of Photography in Sound (304-7, 312), Folklore (307-12).

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

British composer Michael Nyman’s style could be characterized as a combination of musical quotations fused with minimalist compositional characteristics. Often his music establishes a dialogue with the past, engaging the listener with an active reevaluation of the original quoted work. In the soundtrack to Peter Greenaway’s film Draughtsman’s Contract (1982), Nyman based the entire score on elements of the music of Purcell, especially on ground basses and archetypes of functional harmony, gradually reducing out elements of Purcell’s stylistic language until just common harmonic patterns remained. This creates a sense of tension between the present and the past. In Drowning by Numbers, Nyman borrows from Mozart’s Sinfonia Concertante, K. 364. Nyman employs two different techniques of borrowing: variation and montage. Variation technique describes a process by which Nyman systematically varies every musical element associated with a borrowing (such as rhythm and pitch); this technique creates a sense of alienation between the two different musical eras (Classical and modern). Montage technique describes a process by which Nyman cuts up source material and brings it together again in a new framework; the individual compositional cells remain very close to the original, but their combination is quite different and introduces a new kind of formal coherence. These techniques of musical borrowing can also be seen in Nyman’s String Quartet No. 1 (1985), which borrows from works by Schoenberg and John Bull, creating a commentary on the music in which it is based. Nyman creates a dialectic between the two, with Bull representing traditional musical practices and Schoenberg representing more radical or modern practices, fully asserting himself as a European composer of the classical tradition in the process. Two charts (28, 33) summarize the borrowings in Drowing by Numbers and the String Quartet No. 1.

Works: Peter Greenaway (director) and Michael Nyman (composer): score to The Draughtsman’s Contract (26); Michael Nyman: Drowning by Numbers (27-32), In Re Don Giovanni (30), String Quartet No. 1 (33-37).

Sources: Purcell: Chasing Sheep is Best Left for Shepherds (26); Mozart: Sinfonia Concertante, K. 364 (27-32), Don Giovanni (30); John Bull: Walsingham (33-37); Schoenberg: String Quartet No. 2 (33-35).

Index Classifications: 1900s, Film

Contributed by: Chelsea Hamm

Index Classifications: 1800s, 1900s

Index Classifications: 1900s

Index Classifications: 1900s

Aaron Copland alters material borrowed from American folksong to make it individual and to evoke folksong as a genre. In adapting the source tunes, Copland changes their character (Lincoln Portrait), shifts rhythmic emphasis (Billy the Kid, Rodeo), and fragments motives (El salón México). The compositional technique is comparable to that in the more abstract works; for example, Danzon Cubano and the Violin Sonata employ similar rhythmic patterns. Works by Copland that draw upon folksong portray not only the open space of the prairies, but also the isolation of New York City, Copland's own environment.

Works: Copland: Piano Sonata (2), Danzon Cubano (2-3), Violin Sonata (2-3), Lincoln Portrait (3), Billy the Kid (3), El salón México (4), Rodeo (4).

Index Classifications: 1900s

Contributed by: Elizabeth Bergman

Within a life and works study, musical borrowings from American folk music are considered. A number of works after 1934 borrow from folk sources, including El salón México,Billy the Kid,Rodeo, and Lincoln Portrait. Copland transformed and developed his borrowings through melodic and rhythmic displacement, character changes, and motivic fragmentation. As a result of folk influence, Copland composed more melodic music that relies upon diatonic harmonies. The use of folksong assisted Copland in his search for a simpler style accessible to a wider audience. Copland's borrowings were also the result of his Americanism and his desire to bring the American popular-music heritage into the concert hall.

Works: Copland: Vitebsk (52), Lincoln Portrait (60-61), Rodeo (63-64), El Salón México (63-65), Billy the Kid (65n, 91), Appalachian Spring (65n), Third Symphony (72-80), The Heiress (film score) (89), Las Agachadas (91); Rimsky-Korsakoff: Russian Easter Overture (73); Stravinsky: Petrouchka (73, 91), Pulcinella (91).

Sources: Springfield Mountain (60-61); El Mosca (63); If He'd Be a Buckaroo (63-64); Sis Joe (64); El Palo Verde (65); The Gift to Be Simple (Simple Gifts) (65n); Goodbye Old Paint (65n, 91); Copland: Fanfare for the Common Man (75); Giovanni Martini: Plaisirs d'amour (89).

Index Classifications: 1900s

Contributed by: Elizabeth Bergman

John Corigliano’s Symphony No. 1 and its derivative choral chaconne, Of Rage and Remembrance, form a supplementary pair dealing with private and public mourning of the HIV/AIDS epidemic in the 1980s. The symphony is a work of mourning, dedicated to Corigliano’s lifelong friend Sheldon Shkolnik, who died of AIDS just weeks after attending the premiere in March 1990. Mourning and remembrance are musically invoked throughout the symphony. For example, in the first movement (titled “Apologue”), Corigliano quotes Leopold Godowsky’s arrangement of Isaac Albéniz’s Tango in D, a piece frequently performed by Shkolnik. The tango is performed by an offstage piano, emphasizing Shkolnik’s absence. The third movement presents a different approach to memory and mourning by blending a cello improvisation by Giulio Sorrentino with J. S. Bach’s lamenting chorale Es ist genug (Corigliano also alludes to Alban Berg’s use of this chorale in his Violin Concerto). The third movement reaches its climax with a “quilt” of nine interwoven melodies labeled in the score with the names of nine friends of Corigliano’s who were victims of AIDS—a reference to the NAMES Project’s AIDS Quilt memorial begun in 1987. Of Rage and Remembrance, a choral chaconne setting of the third movement of the symphony, makes the mourning explicit by reciting the names of Corigliano’s deceased friends.

Works: John Corigliano: Symphony No. 1 (345-53); Of Rage and Remembrance (353-58)

Sources: Isaac Albéniz (composer), Leopold Godowsky (arranger): Tango in D Major, Op. 165, No. 2 (345-47); Giulio Sorrentino: Giulio’s Song (Improvisation) (348-53); J. S. Bach: Es ist genug from O Ewigkeit, du Donnerwort, BWV 60 (348-50); Alban Berg: Violin Concerto (349-50); John Corigliano: Symphony No. 1 (353-58)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Within a study of Scott Joplin and his compositions, several cases of borrowing or modeling are explored. The most imitated Joplin piece was Maple Leaf Rag, his biggest hit. Also imitated to some extent were Elite Syncopations,Palm Leaf Rag, and Original Rags. Many imitations were little more than plagiarisms. Joplin's imitations of himself, however, were brilliant. Gladiolous Rag,Rose Leaf Rag, and Cascades preserve what Joplin apparently felt were attractive structural elements of the Maple Leaf Rag. Also noteworthy is the possibility of Irving Berlin's Alexander's Ragtime Band borrowing from Joplin's Treemonisha.

Works: Settle: X.L. Rag (51, 68); Etter: Whoa! Maud (52, 69); Butler: The Tantalizer (67); Donaldson: Latonia Rag (68); Nonnahs: That's Goin' Some (68); Tournade: Easy Money (113); Scott: A Summer Breeze (113); Morton: Fuzzy Wuzzy Rag (113-14); Verge: Who You Heiffer (131); Joplin: Cascades (136-38), Gladiolous Rag (169-72), Rose Leaf Rag (169-72); Berlin: Alexander's Ragtime Band (210-12).

Sources: Joplin: Original Rags (50-51), Maple Leaf Rag (67-69, 136, 152, 169-70, 179, 182-83), The Entertainer (108-10), A Breeze From Alabama (110-12), Elite Syncopations (113-14), Palm Leaf Rag (130-32), Treemonisha (210-12).

Index Classifications: 1900s, Jazz

Contributed by: Eytan Uslan

The plots of both works are similar so that Debussy's method of translating poetry into music can be compared. The retrospective character of the prelude is apparent in the evocation of (1) Tristan, (2) Chopin's Nocturne No. 8 in Db major, (3) Saint-Saëns's Mon coeur s'ouvre à ta voix, and (4) the love music of Tchaikovsky's Romeo and Juliet.

Works: Debussy: Prelude to the Afternoon of a Faun (227-32), Jeux (232-38).

Sources: Wagner: Tristan und Isolde (232), Chopin: Nocturne No. 8 in D flat (232), Saint-Saëns: Mon coeur s'ouvre à ta voix (232), Tchaikovsky: Romeo and Juliet (232).

Index Classifications: 1800s, 1900s

Contributed by: David C. Birchler

A group of composers, known as "Converts," began as "post-tonalists" and experimentalists and then moved toward more tonal idioms in the 1960s and 1970s. One of the first composers to leave the "post-tonal" world was George Rochberg, who began using collage and other borrowing techniques in his compositions of the mid-1960s. He began quoting his contemporaries and slowly moved to allusion of past composers and eras with his Third String Quartet. Another composer to use collage and allusion was David Del Tredici, who used various traditional and popular tunes to support the texts of Lewis Carroll. William Bolcom, John Harbison, Chick Corea, Keith Jarrett, and Anthony Davis began mixing art music and popular music through quotation, allusion, and homage to create a tonal idiom unlike those found in the music of Rochberg and Del Tredici. In the 1980s and 1990s, young composers also looked back to the Romantic period, but they did not use quotation or other actual borrowing techniques to the extent of the Converts. The young Romantic composers usually composed original music that only alluded slightly to the former composers of the 1800s.

Works: Rochberg: Music for the Magic Theater (546), String Quartet No. 3 (546-47); Del Tredici: Pop-Pourri (547), Vintage Alice (548); Zwilich: Concerto Grosso (561); Larson: Symphony: Water Music (563).

Sources: Mozart: Divertimento K. 287 (546); Bach: Es ist genug (547); Traditional: Twinkle, Twinkle Little Star (548), God Save the Queen (548); Handel: Violin Sonata in D (561), Water Music (563).

Index Classifications: 1900s

Contributed by: Matthew Altizer

Niels Viggo Bentzon's Variationer for klaver, Op. 241, and Robert Muczynski's Desperate Measures (Paganini Variations) participate in a long tradition of variations in general and variations on Paganini's Caprice No. 24, and their contributions to the latter tradition exhibit divergent approaches to variation technique. Bentzon obscures all melodic references to Paganini's theme and does not label variations, preferring instead to make subtle allusions to Paganini's harmonies and rhythms within the context of Bentzon's own language. Muczynski's Desperate Measures, on the other hand, is a work conceived of as entertainment, and references to Paganini's melody remain clear within a more traditional approach to variations and tonality, to which Muczynski adds modern dance idioms.

Works: J. S. Bach: Goldberg Variations (11-13); Mozart: Variations in F Major, "Salve tu Domine," K. 398; Beethoven: Diabelli Variations, Op. 120 (14); Chopin: Twelve Concert Etudes, Op. 10 (18); Liszt: Grandes études de Paganini, Op. 6 (28, 30-32, 101); Busoni: Paganini-Liszt Theme mit Variationen, Etüden, No. 6 (28-32); Lutosławski: Variations on a Theme of Paganini (28, 32); Brahms: Variations on a Theme by Paganini, Op. 35 (28, 32-33, 101); Rachmaninov: Rhapsody on a Theme by Paganini, Op. 43 (28, 32-33); Niels Viggo Bentzon: Variationer for Klaver, Op. 241 (29, 34, 37-62, 65, 98-101); Robert Muczynski: Desperate Measures (Paganini Variations) (29, 65-98, 100-102).

Sources: Anonymous: Ich bin so lang nicht bei dir g'west (12), Kraut und Rüben (12); Paisiello: "Salve tu, domine" from I filosofi immaginarii (13); Anton Diabelli: Waltz (14); Paganini: 24 Caprices, Op. 1 (26-29); Liszt: Grandes études de Paganini, Op. 6 (30).

Index Classifications: 1700s, 1800s, 1900s

Contributed by: Virginia Whealton

Louis Armstrong's prolifically wide-ranging tastes regarding art and music find their outlet in his incorporation of operatic fragments in his improvised solos. Armstrong was inclined to imitate operatic gestures such as recitative style, as exemplified by his solo in Blue Again. Armstrong also played operatic cadenza-like passages in certain breaks, such as in I Can't Give You Anything But Love (234). In other instances, Armstrong quoted operatic themes, such as Verdi's Rigoletto quartet and "Vesti la giubba" from Pagliacci. By quoting Pagliacci and Rigoletto, he was showing that his artistic influences were not limited to the pantheon of New Orleans cornet virtuosos of the early twentieth century. Armstrong did not distinguish between "high" and "low" art; it was all jazz to him, and his quotations of well-known music are a demonstration of this belief.

Works: Louis Armstrong: Cornet/Trumpet solos on Araby (220), Blue Again (222, 235), New Orleans Stomp (223), Dinah (223-24, 234, 236), Tiger Rag (225), New Tiger Rag (225); Armstrong and Bechet: Jazz improvisations on Kansas City Man Blues (228), Texas Moaner Blues (229); Louis Armstrong: Cornet/Trumpet solos on Potato Head Blues (229); Armstrong and Bechet: Jazz improvisations on Cake Walking Babies from Home (230, 234); Louis Armstrong: Cornet/Trumpet solos on West End Blues (231-36); Armstrong and Bechet: Jazz improvisations on Mandy Make Up Your Mind (232), Early Every Morn (233); Louis Armstrong: Cornet/Trumpet solos on Beau Koo Jack (235), Once in a While (235), Can't Give You Anything But Love (235).

Sources: Verdi: Rigoletto (218, 222-23, 231-32); Gounod: Faust (220); Ponchielli: Dance of the Hours (221), Gershwin: Lady Be Good! (223); Sindig: Rustle of Spring (225); Leoncavallo: Pagliacci (225); Porter Steele: High Society (227, 232); Bizet: Carmen (231); Eva Dell'Acqua: Villanelle (232-33); Suppé: Poet and Peasant Overture (233).

Index Classifications: 1900s, Jazz

Contributed by: Eytan Uslan, Marc Geelhoed

Index Classifications: 1900s

Self-quotation in the classical tradition is when a composer cites a melody or segment from an existing composition in a new work for some extramusical purpose or meaning. Although the technique is rarely found in Renaissance or Baroque music, it attained increased prominence in the late-Classical period and into the twentieth century, due to emerging aesthetics of originality and “absolute music.” The effectiveness of self-quotation, moreover, depends on the composer’s ability to present the existing material in a recognizable way, as well as the listener’s understanding of the origin and meaning of the original work.

Through self-quotation, a composer can create a diverse array of new presentations of older material ranging from commentary, illustration, humor, and either distancing or affirmation of the original material’s meaning. Mozart’s insertion of “Non piú andrai” from Le nozze di Figaro in the finale of Don Giovanni, for instance, momentarily dissolves the boundaries of operatic illusion and reality, invoking the plot of the former opera to foreshadow Don Giovanni’s impending doom. Beethoven utilizes a theme from his ballet Die Geschöpfe des Prometheus as the basis for the finale of his Eroica Symphony to invoke the image of Prometheus as the symbolic hero of the work, which is especially asserted in the coda. In his opera Die Meistersinger von Nürnberg, Wagner quotes the “love motive” from Tristan und Isolde to draw a parallel between the love triangles of both operas. While the motive symbolized a tragic fate in Tristan und Isolde, however, in Die Meistersinger it reminds Hans Sachs of a tragedy to avoid, thus ensuring the opera’s happy ending. Anton Bruckner inserted quotations from many of his sacred works into his symphonies to give them a special character of reverence and piety. Richard Strauss practiced self-quotation frequently, but particularly fascinating is his symphonic poem Ein Heldenleben, which uses material from Guntram, Don Juan, and several other works to depict Strauss himself as the titular hero of Ein Heldenleben. Self-quotation’s continued relevance as a compositional technique can be seen in contemporary works, with Berg’s opera Lulu, Liebermann’s opera Leonore 40/45, and Zimmermann’s Ballet noir being notable examples.

Works: Mozart: Don Giovanni, K. 527 (21); Beethoven: Symphony No. 3 in E-flat Major, Op. 55 (Eroica) (21); Wagner: Die Meistersinger von Nürnberg (21-22); Bruckner: Symphony No. 0 in D Minor, WAB 100 (23), Symphony No. 2 in C Minor, WAB 102 (23), Symphony No. 3 in D Minor, WAB 103 (23), Symphony No. 9 in D Minor, WAB 109 (23), Symphony No. 7 in C-sharp Minor, WAB 107 (23); Richard Strauss: Ein Heldenleben, Op. 40 (23-24), Feuersnot, Op. 50 (24), Der Bürger als Edelmann, Op. 60b (24), Eine Alpensinfonie, Op. 64 (24), Intermezzo, Op. 72 (24), Capriccio, Op. 85 (24), Vier letzte Lieder, Op. posth. (24); Alban Berg: Lulu (24); Rolf Liebermann: Leonore 40/45 (24); Bernd Alois Zimmermann: Ballet noir: Musique pour les soupers du Roi Ubu (24).

Sources: Mozart: Le Nozze di Figaro, K. 492 (21); Beethoven: Die Geschöpfe des Prometheus, Op. 43 (21); Wagner: Tristan und Isolde (21-22); Bruckner: Ave Maria, WAB 6 (23), Mass in F Minor, WAB 28 (23), Mass in D Minor, WAB 26 (23), Te Deum in C Major, WAB 45 (23); Richard Strauss: Guntram, Op. 25 (23-24), Macbeth, Op. 23 (23), Don Juan, Op. 20 (23), Tod und Verklärung, Op. 24 (23-24), Till Eulenspiegels lustige Streiche, Op. 28 (23), Also sprach Zarathustra, Op. 30 (23), Don Quixote, Op. 35 (23-24), Hymne an die Liebe, Op. 71, No. 1 (24), Ein Heldenleben, Op. 40 (24), Daphne, Op. 82 (24), Ariadne auf Naxos, Op. 60 (24); Alban Berg: Wozzeck (24); Rolf Liebermann: Sonate für Klavier (24).

Index Classifications: 1700s, 1800s, 1900s

Contributed by: Matthew G. Leone

Although Lutoslawski’s Funeral Music was written in 1954 for the tenth anniversary of Béla Bartók’s death in 1945, there was no intention to imitate Bartók’s musical style in this piece. Some of Lutoslawki’s stylistic interests are closely aligned with those of Bartók, which results in several accidental resemblances in the work. Of particular interest is the twelve-note structure (with alternating semitones and tritones) in the harmonic continuo in the second movement. Unlike the practice by composers in the Second Viennese School, this twelve-note structure does not exhibit serialism. Rather, the twelve-tone quality is found in vertical spaces of the harmonic continuo, in which thirds are absent.

Works: Lutoslawski: Funeral Music (17-21).

Sources: Lutoslawski: Two Etudes for Piano (17), Variations on a Theme of Paganini for 2 Pianos (17), Symphony No. 1 (17), Overture for Strings (17).

Index Classifications: 1900s

Contributed by: Nicolette van den Bogerd

By borrowing a musical passage from his film score Hangman also Die within the opening of his song Auferstanden aus Ruinen, Hanns Eisler utilized the same music for two extremely different political and social circumstances—a paradox that illustrates music's ability to mediate meaning through cultural encoding. The 1943 motion picture Hangmen also Die by Fritz Lang is a product of the Hollywood entertainment industry and American capitalism, whereas Auferstanden aus Ruinen is a patriotic song adopted by the communist German Democratic Republic as its national anthem. In the film, the story centers on the struggle of the united Czech people to overcome the brutal Nazi occupation; the relevant musical passage is heard in a scene in which the leading Czech resistance leader lies on his deathbed after a Nazi raid. The slow, syncopated rhythm in the bass line and the three-note descending sequential figure in the melody symbolize the patriotism and heroism of the Czech people fighting against fascism. Eisler borrows these same gestures in the opening of the anthem, and in both cases exploits the emotional power of music to mediate a political and social message. The paradox of Eisler's self-borrowing emphasizes music's ability to cross social and political boundaries.

Works: Eisler: Auferstanden aus Ruinen.

Sources: Eisler: Score for Hangman also Die.

Index Classifications: 1900s, Popular, Film

Contributed by: Mary Ellen Ryan

Musical quotation is an intentional act of re-use by the composer who intends for it to be heard as reference to other music. Hence, part of musical quotation’s success lies in listeners’ recognition of the borrowed material. Nelson Goodman posited that there are two prerequisites for direct or indirect quotations: containment and reference. While containment is explicit, reference poses musical challenges since there is no system of reference in performed music. Therefore, context, emphasis, and pause serve as auditory devices for reference in music. In listening to Schnittke’s String Quartet No. 3, one finds it easy to recognize the initial fragment from Lassus, as each time it appears, the Lassus fragment stands in contrast to the music that came before and after. However, the reference to Beethoven’s Grosse Fuge in less obvious, as there is no clear stylistic contrast between the quotation and Schnittke’s own compositional idiom. As a result, one is less likely to be able to recognize the quotation. The recognition of Shostakovich’s “D–E-flat–C–B” signature is dependent on listeners’ familiarity with the aural projection of the motive. While familiarity plays a key role in the identification of the quotation, a keen awareness of the practice of musical quotation and musical literacy is more crucial. The identification of musical references also relies on memory and a shared cultural context between the composer and his listeners. While musical reference can be exclusionary by forging a bond between the composer and his musically literate audience, it can also be seen as an invitation to others to discover the original context of the quoted work and join the group of enlightened listeners.

Works: Schnittke: String Quartet No. 3 (186).

Sources: Lassus: Stabat Mater (186); Beethoven: Grosse Fuge, Op. 133 (186).

Index Classifications: 1900s

Contributed by: Jingyi Zhang

Index Classifications: 1800s, 1900s

Vincent d'Indy was heavily influenced by Gregorian plainsong, and this influence was clearly reflected in his musical philosophies, teaching, and compositions. D'Indy's music quotes, paraphrases, or alludes to the style of Gregorian chant in several ways. These are organized according to compositional genre. The use of Gregorian chant fits into d'Indy's musical aesthetic in several ways.

Index Classifications: 1800s, 1900s

Contributed by: Lee Ann Roripaugh

Index Classifications: 1900s

Max Reger’s Phantasie und Fuge über den Namen B-A-C-H, Op. 46, was his attempt to balance the expressive values of Bach and Wagner within the fin de siècle anxiety over the future direction of German music. Aesthetic and ideological comparisons between Bach and Wagner were common in Reger’s time, and the two pillars of German music were often described as two dialectic poles with an understanding of one completing the understanding of the other. Along these lines, Reger described Bach as a remedy for the affliction of “Wagneritis,” what he saw as a misunderstanding of Wagner’s true identity. The opening of Phantasie draws heavily on Tristan und Isolde, prominently utilizing the Tristan chord in the opening measure and developing unresolved seventh chords in the same way as Wagner does in the Tristan prelude. The harmonic and polyphonic language Reger (and Wagner) uses is prefigured in Bach’s music. Reger models his Phantasie on Bach’s Fantasy and Fugue in G Minor, BWV 542 (and to a lesser extent, Liszt’s 1870 Präludium und Fuge über B-A-C-H), and the B-A-C-H theme is present throughout the work. Elements of Bach’s harmonic language—common chord tones and leading-tone chromaticism, for two—that are also used by Wagner are highlighted by Reger, who draws on both composers’ work. Reger also alludes to the moment of transfiguration for the morbidly ill protagonist in Richard Strauss’s Tod und Verklärung, further underscoring Phantasie’s purpose of curing the illness of Wagneritis. Through Phantasie, Reger hoped to synthesize and transcend Bach and Wagner, and to proclaim a new era free of pessimism and cultural illness.

Works: Reger: Phantasie und Fuge über den Namen B-A-C-H, Op. 46 (502-14)

Sources: Wagner: Tristan und Isolde (502-9); J. S. Bach: Fantasy and Fugue in G Minor, BWV 542 (506-10); Richard Strauss: Tod und Verklärung (512-14)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

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

Within the context of an examination into film music as a component equally crucial to the film as the images on the screen, musical borrowing is discussed with special attention paid to the musical cliché. The use and creation of musical clichés in film music derives first and foremost from the recontextualization of "classical" music in film. The musical cliché is analogous to the literary. In some cases, the classifications and associations assigned to the musical cues of the silent films derive from already established semiotic codes, but in most cases film composers were creating and re-creating cultural and psychological points of reference in the ears and minds of the film spectators. In the process of recognizing the real social importance of these musical clichés, their respective archetypes are uncovered.

Index Classifications: 1900s, Film

Contributed by: David Oliver

There is evidence to suggest that Schoenberg modeled the first movement of his Third String Quartet (1927) on the first movement of Schubert's String Quartet in A minor, Op. 29 (1824). Schoenberg's incessant eighth-note ostinato in the second violin and viola at the opening of the movement shows a clear allegiance to the perpetual eighth notes at the opening of the Schubert. But what is especially noteworthy is Schoenberg's unique manipulation and recasting of the traditional elements of sonata form within the new environment of the twelve-tone system.

Index Classifications: 1900s

Contributed by: Mark S. Spicer

The recently revealed manuscript for L'Ile du rêve contains Hahn's marginal comments written in the style of Massenet. An examination of these markings displays Hahn's infatuation and dependence on not only Massenet, but also contemporary writers Loti and Proust. Regarding his teacher Massenet, Hahn wrote that he was dependent on him for compositional technique and melodic ideas. (EH)

Index Classifications: 1900s

Index Classifications: 1500s, 1600s, 1700s, 1800s, 1900s

Amy Beach composed five works using Native American music as themes. Her usage reflected an interest, shared by MacDowell, Dvořák, Farwell and others, in developing an American musical idiom. In her Indianist works, Beach integrated source tunes through dissonance, chromaticism, drones, and other devices, facilitating her development of a unique musical language.

Works: Beach: Eskimos, Op. 64 (148-50), An Indian Lullaby, Op. 57, No. 3 (149), From Blackbird Hills: An Omaha Tribal Dance, Op. 83 (150-52), Trio, Op. 150 (152-54), String Quartet, Op. 89 (154-63).

Sources: Native American tunes transcribed by Boas in The Central Eskimo (144, 149-50, 152, 156, 160); Beach: The Returning Hunter, Op. 64, No. 2 (152-53).

Index Classifications: 1900s

Contributed by: Eytan Uslan

Dvořák had a wide-ranging impact on the creation of an American nationalism in music. His ideas about a national American music fall into three different categories, each dealing with a style of folk music. Dvořák felt that American composers should look toward these three folk styles as foundations for their compositions, following the model of his own New World Symphony from 1893. The first category of national American music is Native American music. Composers continued to follow Dvořák's ideas by collecting the music, using previous collections made by ethnologists, and alluding to the culture of the Native American in symphonic and chamber music and opera. The second folk style Dvořák discussed is African-American music. Composers broke into two categories of African-American music, yet they all still were following many of the ideals set forth in the writings of Dvořák. Many composers looked towards the traditions of the Creole people in the South, while others focused mainly on spirituals and other slave songs for the inspiration of various compositions. Finally, composers began looking toward Anglo-American folk traditions, which was the final type of folk music briefly discussed by Dvořák as a basis for a national music. Dvořák was a significant influence on the creation of American music from his entrance into the country until mid-twentieth century.

Works: Works: Dvořák: Symphony No. 9 in E Minor, From the New World (158-59); MacDowell: Indian Suite (163); Loomis: Lyrics of the Red Men (163-64); Nevin: Poia (164); Farwell: The Hako (164); Griffes: Two Sketches Based on Indian Themes (164-65); Beach: String Quartet, Op. 89 (165-66); van Brockhoven: Suite Creole (169); Gilbert: Dance in Place Congo (169); Beach: Cabildo (169); Shelly: Carnival Overture (170); Schoenefeld: Suite, Op. 15 (170); Goldmark: Negro Rhapsody (171); Gilbert: Negro Episode (171); Mason: String Quartet in G Minor on Negro Themes (172); Cook: Uncle Tom's Cabin (173); Gershwin: Rhapsody in Blue (174).

Index Classifications: 1800s, 1900s

Contributed by: Matthew Altizer

Ives's borrowings from Beethoven in his Concord Sonata extend beyond reverence and homage. Ives integrates the famous four-note opening to Beethoven's Symphony No. 5 into his own theme, which he calls the "human faith melody." By reworking Beethoven's motto into a new context, Ives pays tribute to Beethoven and also challenges Beethoven's music by improving the material with new sounds Beethoven might have used had he been Ives's contemporary. The Concord Sonata thus displays Ives's success in overcoming what Harold Bloom calls the "anxiety of influence" by confronting Beethoven's influence head-on.

Works: Ives: Arrangement of Beethoven's Piano Sonata in F Minor, Op. 2, No. 1 (34-37), Second Piano Sonata (Concord) (37-50).

Sources: Beethoven: Piano Sonata in F Minor, Op. 2, No. 1 (34-37), Symphony No. 5 in C Minor (40-44,47-50), Piano Sonata in B-flat Major, Op. 106 (Hammerklavier) (44-47); Simeon B. Marsh: Martyn (42-45); Charles Zeuner: Missionary Chant (42-44).

Index Classifications: 1900s

Contributed by: Brent C. Reidy

Index Classifications: 1900s

Index Classifications: 1900s

Rochberg is an imitator who does not place his personal stamp on the compositions he quotes. Rochberg's style of quotation presents a shallow picture of the composer he tries to portray without adding anything of his own.

Index Classifications: 1900s

Contributed by: Sergio Bezerra

Critics of Cecil Taylor’s recordings have incorrectly accused him of abandoning tonality and emphasizing texture in his improvisations. Pitch-class set analysis of Taylor’s improvisations, however, reveals a much closer connection between Taylor and his predecessors than previously acknowledged. Two recordings of Thelonious Monk and Denzil Best’s Bemsha Swing, one by Monk in 1955 and one by Taylor in 1958, demonstrate this close connection. Monk uses only a small collection of pitch-class sets and pitch-class operators for many of his improvisations, all in the context of standard bebop extended tonality. Taylor uses sets that imply traditional jazz scales and derive from Monk’s improvisations. By applying pitch-class operations, particularly multiplication, to these sets, Taylor gradually removes them from a tonal context.

Works: Thelonious Monk and Denzel Best (composers) and Cecil Taylor (performer): Bemsha Swing (219-31).

Sources: Thelonious Monk and Denzil Best (composers) and Thelonious Monk (performer): Bemsha Swing (207-19).

Index Classifications: 1900s, Jazz

Contributed by: Nathan Blustein

Stephen Sondheim’s Sweeney Todd is not a musical, but an opera, and has suffered by not being performed by opera companies for opera audiences. In Sweeney Todd, Sondheim shows his knowledge of the Western art music tradition through musical borrowing, leitmotif-like motivic recurrence, stylistic allusion to canonic composers and popular musics, harsh dissonance and bi-tonality, mixed meter, and other techniques. Such techniques provide the work with dramatic cohesion and musical integrity.

Works: Stephen Sondheim: Sweeney Todd.

Sources: Anonymous: Dies Irae (20, 24-25).

Index Classifications: 1900s, Popular

Contributed by: Nathan Landes

Hanns Eisler’s works have been going through a resurgence in a post-socialist, post-modern world. Why does his music, particularly Hollywood Songbook, resonate with later audiences? Part of the reason may be that Eisler’s works have a propensity not only to be covered by others but also to begin as covers themselves; bringing the popular music theories of covering into art music may help answer some of these questions about Eisler. The process of covering, regardless of genre, also raises further problems of authorship and authenticity, muddying who is the true author of the work and what the work means for a given time period. Connecting the concept of covers to the concept of performances and performative genres can help alleviate some of these problems.

Eisler’s Hollywood Songbook takes its influence both from Bertold Brecht’s poetry of the same name, the Hollywood Liederbuch, as well as the intangible “Great American Songbook” that many composers claim to reference. All three of these objects are difficult to classify in terms of genre, and thus invite intertextualization, which helps us understand Eisler’s songbook with its references to both exile and modernity borrowed from Brecht’s work and the Great American Songbook. As Eisler’s work itself is a sort of cover of these themes, other artists create their own covers and performances of the work, from popular singers such as Sting to visual artists like Ana Torf. These performative works invite further intertextual readings of both the performance and Eisler’s songbook.

Works: Hanns Eisler: Hollywood Songbook (19-29), Neue deutsche Volkslieder (19); Sting: The Secret Marriage (26-27); Heiner Goebbels: Eislermaterial (26-27); Ana Torf: Performance Art Installation (26-27).

Sources: Hanns Eisler: Hollywood Songbook (25-29).

Index Classifications: 1900s, 2000s, Film

Contributed by: Emily Baumgart

Index Classifications: 1900s

While at university in Manchester, Peter Maxwell Davies immersed himself in early music. From the Liber Usualis, the volumes in the Tudor Church Music series, and performances at Manchester Cathedral, Davies heard and studied this repertoire. Upon purchasing the volume of John Dunstable's works in the Musica Britannica collection, Davies began to use Dunstable's music in his own compositions as an alternative to the serial procedures currently in vogue. He says that he borrowed the idea of plainsong transformation from Dunstable, as well as the manner in which he structured rhythm. Davies was also concerned with aesthetic expression and the process in which a composition would speak to the listener. In order to reach the height of expression, a composition must also be in correct proportion, an idea Davies shares with Dunstable. However, the proportional structure need not be heard to communicate to the listener. Davies also uses the vocabulary of early music when he speaks of a cantus or tenor working its way through his compositions. For Davies, this is no mere intellectual exercise, but a compositional process which he believes allows him to communicate to a wide audience.

Works: Davies: Prolation (3).

Index Classifications: 1900s

Contributed by: Christopher Holmes

Amy Beach recommended in her essay “Ten Commandments for Young Composers” that when composers approached a new form, they should choose a work to use as a model for their composition. Her Variations on Balkan Themes may have been modeled after Beethoven’s Six Variations, Op. 34, a work that Beach had in her repertoire throughout her career. There is a similar tonal scheme between the two works, though Beach’s is in minor and Beethoven’s in major.

Works: Amy Beach: Variations on Balkan Themes, Op. 60.

Sources: Beethoven: Six Variations, Op. 34 (369-70).

Index Classifications: 1900s

Contributed by: Devin Chaloux

Amy Beach’s Variations on Balkan Themes, her largest and most difficult piano composition, utilizes four Balkan tunes throughout the work. Beach originally thought these melodies were peasant melodies, but two have been positively identified as Bulgarian urban songs. Though there are four melodies used, titled O Maiko Moya, Stara Planina, Nasadil e Dado, and Macedonia,, they do not receive equal treatment in length and development. For instance, the main theme of the variations is based solely on O Maiko Moya, whereas Nasadil e Dado only appears once in the entire work. The other two melodies had charged political meanings, suggesting that Beach was sympathetic to the Balkan people, especially the Macedonians. The form of the work is best described as “free” or “fantasia” variations since the theme is metrically and harmonically free, allowing for development of motives. In this regard, Beach’s variations are constructed similarly to Dvořák’s Symphonic Variations and Tchaikovsky’s Piano Trio, Op. 50. The descending-thirds key relationships between several of the variations also resemble Beethoven’s Six Variations, Op. 34, while the oscillation between slow and fast tempos in the sixth variation recalls the lassu-friss style found in Liszt’s Hungarian Rhapsodies. The penultimate variation is a funeral march reminiscent of Chopin’s Piano Sonata in B-flat Minor in its pianism, especially the use of the lower range of the piano.

Works: Amy Beach: Variations on Balkan Themes, Op. 60.

Sources: Anonymous: O Maiko Moya (328-32, 337, 342-43), Stara Planina (328-332, 336-37, 340-41, 344), Nasadil e Dado (328-29, 337-38), Macedonia (328-332, 341-42); Dvořák: Symphonic Variations (333); Tchaikovsky: Piano Trio, Op. 50 (333); Beethoven: Six Variations, Op. 34 (336), Eroica Variations, Op. 35 (340), Diabelli Variations, Op. 120 (340); Liszt: Hungarian Rhapsodies, S.244 (337); Chopin: Piano Sonata in B-flat Minor, Op. 35 (339-40).

Index Classifications: 1900s

Contributed by: Devin Chaloux

Bartók's compositions contain numerous "hidden autobiographical elements," quotations from his own and from other composers' works. These can often be revealed only through careful analysis. In Bluebeard's Castle, Bartók quotes an ostinato motive from Bach's St. Matthew Passion and also uses the motive B-A-C-H. The Wooden Prince begins with an evocation of nature modeled upon that which begins Wagner's Das Rheingold except that in Bartók the first seven harmonics are combined (as opposed to the first five in the Wagner) to create the "Bartók chord." Other examples noted include reference to Ravel's Scarbo in Bartók's Allegro barbaro and the reformulation of the slow movement of Beethoven's String Quartet in A Minor, Op.132, in the second movement of Bartók's Third Piano Concerto.

Index Classifications: 1900s

Contributed by: David C. Birchler

Bartók's quotations have never been completely examined. His quotations are rarely made for "effect," but are instead hidden away and are of a personal significance. Many examples are noted with reference to folk melodies and to the works of Haydn, Liszt, Wagner, Bach, Beethoven, Debussy, Ravel, Kodaly, and Stravinsky. Bartók also quotes music from his own earlier works. The quotations discussed are divided into four groups: (1) the reference to the music of other composers, often inspired by similar compositional situations, (2) programmatic and autobiographical quotations, (3) quotations of a humorous or ironic nature, and (4) "shopwork" quotations, themes which recur in several works and are molded to "final perfection." Bartók is viewed as an innovator who at the same time is a great synthesizer of disparate influences.

Works: Bartók: Kossuth (357), Rhapsody for Piano and Orchestra, Op. 1 (357), Scherzo for Piano and Orchestra (357), First Suite for Orchestra, Op. 3 (357), Second Suite for Orchestra, Op. 4 (357), Violin Concerto No. 1 (359), Sonata for Two Pianos and Percussion (361), Bluebeard's Castle (365), Piano Concerto No. 3 (369), Second String Quartet (371), Allegro barbaro (372), Contrasts (372), Violin Concerto No. 2 (373), Concerto for Orchestra (377), Cipósütés (378).

Index Classifications: 1900s

Contributed by: David C. Birchler

An aesthetic of musical borrowing is emerging where the borrowed material functions as the central idea and inspiration of a work. The works of Bernd Aloys Zimmerman and Peter Maxwell Davies receive particular attention in a discussion that mentions numerous examples of works incorporating musical borrowings. Bonner theorizes that the technique has become particularly important in music of this century due to the growing lack of communication between composers and modern audiences. Borrowed material in new compositions provides a basis of familiarity, thereby serving as a path to comprehension of the new work.

Works: William Albright: Tic (30), Caroms (30); Alban Berg: Wozzeck (30), Violin Concerto (30); Luciano Berio: Sinfonia (30); William Bolcom: Whisper Moons (30), Sessions IV (30); Gavin Bryars: Jesus's Blood (30); John Cage: HPSCHD (30); Peter Maxwell Davies: Alma Redemptoris Mater (29), Frammenti di Leopardi (29), St. Thomas Wake (29), Eight Songs for a Mad King (29), I Love Dr. Herberden Best (29), Comfort ye (29); Brian Dennis: Programmes (30); Hans Werner Henze: Second Violin Concerto (30); Alec Hill: Mayerl Order (29); Christopher Hobbs: Remorseless Lamb (29); Gustav Holst: Hymn of Jesus (28); Wolfgang Amadeus Mozart: "Supper scene" from Don Giovanni (28); Robert Schumann: Fantasy in C Major, Op. 17 (28); Dimitri Shostakovich: Symphony No. 15 (30); Karlheinz Stockhausen: Hymnen (30), Opus 170 (28), Prozession (30); Igor Stravinsky: L'Histoire du Soldat (30); John Tavener: Coplas (30), Celtic Requiem (30); Michael Tippett: Third Symphony (30); William Walton: Façade (28); Bernd Aloys Zimmerman: Die Soldaten (28), Musique pour les soupers du Roi Ubu (28), Monologue (28).

Index Classifications: 1900s

Contributed by: Nancy Kinsey Totten

Index Classifications: 1900s

Musical parody in The Simpsons comes in several different forms and is a key component in the show’s function as television’s “king’s fool” or “court jester,” chipping away at authority and risking rebellion. The Simpsons uses music in five main ways: original songs, variations on its title theme, background music cues, references to existing music, and musician guest stars. Danny Elfman’s theme music for The Simpsons draws heavily from 1960s cartoon music, Hoyt Curtin’s theme music for The Jetsons in particular, lending the show a cheeky, self-conscious aesthetic. Frequently, series composer Alf Clausen writes self-deflating genre-parodies of Elfman’s theme for the end-titles, often relating to the content of the episode (for example, aping the 1964 Addams Family theme and adding a theremin for the season 5 Halloween episode, “Treehouse of Horror IV”). Guest stars including Tito Puente and Sonic Youth have also contributed similar end-title parodies. In addition to making fun of itself, The Simpsons parodies music from other TV shows and movies. For example, Cut Every Corner from the season 8 episode “Simpsoncalifragilisticexpiala(Annoyed Grunt)cious” parodies A Spoonful of Sugar from Disney’s 1964 Mary Poppins, deflating the classic film. Guest stars on The Simpsons are also the target of self-parody, with musicians in particular poking fun at their own music. Musical references in The Simpsons are fluid. The characters’ ages are frozen, but their music comes from a wide range of eras. Music in The Simpsons participates in the show’s self-aware tone and jests at the expense of various kinds of authority.

Works: Danny Elfman: The Simpsons main title theme (98-100); Alf Clausen: soundtrack to The Simpsons (99-109); Alf Clausen, Al Jean, and Mike Reiss: Cut Every Corner (102-3); Jeff Martin: Capitol City (104-5).

Sources: Hoyt Curtin: The Jetsons main title theme (98-100), Meet the Flintstones (102); Danny Elfman: The Simpsons main title theme (99-102); Lee Adams and Charles Strouse: Those Were the Days (102); R. M. and R. B. Sherman: A Spoonful of Sugar (102-3); Johyn Kander and Fred Ebb: New York, New York (104-5); John Mellencamp: Jack and Diane (105); Burt Bacharach and Hal David: (They Long to Be) Close to You (106-7); John Williams: score to Star Wars (107); Beethoven: Symphony No. 5 in C Minor, Op. 67 (107); Maurice Jarre: score to Witness (108); Wendy Carlos and Rachel Elkind: score to The Shining (109).

Index Classifications: 1900s, 2000s, Film

Contributed by: Matthew Van Vleet

There are similarities between the requiems of Britten (WarRequiem) and Verdi. These primarily concern not melodic resemblances but similarities in texture, speed, rhythm, tonality, and the deployment of vocal and instrumental resources. The Verdi-like passages serve as terms of reference for the listener, helping to form a familiar background against which to contrast the tritone relationships in the music and the disruptive elements of the Owen verses. However, in emulating another composer, Britten tried to purge his musical style of certain traits (including some Verdian ones), which resulted sometimes in completely different forms of expression.

Index Classifications: 1900s

Contributed by: Andreas Giger

Amplification of Gregory 1953. Quotation of the Dies Irae has been overdone, but some modern works have enriched the symbolism grown around the ancient plainchant melody. Russia especially has most closely associated this melody with the death of a revolutionary hero. Khatchaturian, in his Second Symphony, uses it in the general expresion of mourning of the war 1914-1918. Tchaikovsky's Suite No. 3 lacks a program to explain the chant's presence. In Respighi's Impressioni Brasiliane, the chant portrays the physical characteristics and deadly qualities of snakes. Dallapiccola's Canti di Prigionia uses the chant structurally in an outcry against tyranny and oppression. Pierres and Stevenson use it for similar effect. Some borderline cases are Rachmaninoff's Isle of the Dead and Mahler's Second Symphony. A list (pp. 355-56) of some secular references to the Dies Irae is provided.

Works: Bantock: Macbeth (355); Berlioz: Symphonie fantastique (347, 348, 355); Dallapiccola: Canti di Prigionia (351, 352, 355); Peter Maxwell Davies: St. Michael (355); Khatchaturian: Symphony No. 2 (348, 350, 355); Kraft: Fantasia Dies Irae for Organ (355); Liszt: Totentanz (351, 355); Mahler: Das klagende Lied (355), Symphony No. 2 (354, 355); Medtner: Piano Quintet (356); Miaskovsky: Symphony No. 6 (348-350, 356); Mussorgsky: Songs and Dances of Death, #3 (356); Pierres: A Litany for the Day of Human Rights (352, 356); Pizetti: Requiem (348); Rachmaninoff: The Isle of the Dead (353, 354, 356), The Bells (353, 356), Rhapsody on a Theme of Paganini (354, 356), Symphonic Dances (354, 356); Respighi: Impressioni brasiliane (351, 356); Saint-Saëns: Danse Macabre (356); Schelling: Victory Ball (356); Sorabji: Variation upon Dies Irae (356), Sequentia cyclica (356); Stevenson: Passacaglia on DSCH (352, 356); Stravinsky: Three Pieces for String Quartet (356); Tchaikovsky: In Dark Hell (356), Suite No. 3 (356); Vaughan-Williams: Five Tudor Portraits (356); Bergman film: The Seventh Seal (356); Fernandel film: The Sheep has Five Legs (356).

Index Classifications: 1800s, 1900s

Contributed by: Jean Pang

Paul Dessau’s score for the pseudo-documentary propaganda film . . . Du und mancher Kamerad employs extensive quotation throughout in order to effectively underscore the themes and emotional content of the film, and to provoke critical reflection in line with his political leanings. For Dessau, quotation was a tool for innovation, as well as a means to generate a sense of historical continuity. In this way, it could be both didactic and creative. The eclectic assemblage of musical quotations employed in the score mirrors the compiled nature of the film, drawn from sources scoured over the course of two years. Aside from two prominent leitmotifs (one of which is an altered quotation of a German folk song), Dessau treats his abundance of quotations—drawn from folk songs, soldiers’ songs, and his own compositions—as musical documents. They are treated in a similar manner as the passing footage fragments, appearing in relation to an image or series of images and never recurring. In some cases, Dessau actively produces critical detachment, or the creation of a musical setting that is incongruous with the musical document it treats or visual images it accompanies in order to engender critical reflection. It is in Dessau’s uncomfortable incongruities that his sense of irony and his penchant for Marxist dialectics is most directly expressed. Through this approach, he is able to both score the film, and to provide his own political commentary alongside it.

Works: Paul Dessau: Score to . . . Du und mancher Kamerad, “Da sind sechs Mörder” from Deutsches Miserere (210).

Sources: Anonymous: Schnitterlied (201-2); Balthasar Gerhard Schumacher (text): Heil dir im Siegerkranz (204); Anonymous: God Save the Queen (204); Max Kegel and Carl Gramm: Sozialistenmarsch (205); Pierre de Geyter and Eugène Pottier: The Internationale (205); Heinrich Anacker, Hans Tieszler, Hans-Wilhelm Kulenkampff (text), and Norbert Schultze (music): Von Finnland bis zum schwarzen Meer (205); Hugo Zuschnied (text): Nun geht’s ans Abschiednehmen (205); Vassili Lebedev-Kumatch (text), Erich Weinert (German text), and Isaak Dunajewski (music): Fatherland, No Enemy Shall Imperil You (206); Hoffmann von Fallersleben: O wie ist es kalt geworden (206); Wilhelm Hauff (text) and Johann C. Günther (music): Morgenrot Morgenrot (206-7): Paul Dessau: Lilo Herrmann (207-8), Sinfonischer Marsch (208-9), Sinfonie in einem Satz (209), Kol Nidre-Sinfonie (209-10); Herrmann Scherchen: Brüder, zur Sonne, zur Freiheit (209); Max Schneckenberger (text) and Karl Wilhelm (music): Die Wacht am Rhein (209); Arno Pardun: Volk ans Gewehr (209); Bertolt Brecht (text) and Paul Dessau (music): Deutsches Miserere (209-10); Chopin: Polonaise in A Major, Op. 40, No. 1 (210); Haydn: Symphony No. 94 in G Major, Hob.I:94 (“Surprise”) (212-13).

Index Classifications: 1900s, Film

Contributed by: Molly Covington

The identification of Jewish elements in Shostakovich's music is preceded by a definition of what these elements may be considered as being. The understanding of the meaning of these elements in Shostakovich's music depends upon the understanding of the position of Jewish culture in the Soviet Union. Twelve works which include Jewish elements are listed in Table I. Jewish elements often appear in works that employ the self-identification motive of D-S-C-H [D-Eb-C-B] which corresponds to the D. SCHostakovitch of the composer's name in German usage. The use of Jewish elements may be interpreted as concealed dissidence.

Index Classifications: 1900s

Contributed by: David C. Birchler

The techniques of quodlibet, quotation, and parody are discussed for a selection of fifteen works written between 1908 and 1970. The reasons for borrowing are considered, along with the categories of renewal, homage, humor, and satire.

Works: Foss: Baroque Variations; Berio: Sinfonia; Rochberg: Nach Bach; Stravinsky: The Fairy's Kiss; Hindemith: Symphonic Metamorphosis, Mathis der Maler; Debussy: "Golliwog's Cakewalk" from Children's Corner; Bartók: Concerto for Orchestra; Berg: Violin Concerto; Crumb: Black Angels.

Index Classifications: 1900s

Contributed by: Marc Moskovitz

Index Classifications: 1900s

In the last few years, interest has increased in the connections between Mahler's song and symphonies. While there is general agreement on these connnections in the vocal symphonies II, III, IV, and VIII, and the instrumental symphonies I and IX, there is less certainty for the middle symphonies V, VI, and VII. The Kindertotenlieder and the Wunderhornlieder have been linked by Theodor Adorno to symphonies VI and VII, respectively, while Monika Tibbe has determined that one motive in the first movement of the fifth symphony is quoted from the first song of the Kindertotenlieder. Brincker shows that this motive, the actual statement of which appears near the end of the movement, appears in varied form throughout the movement, a result of Mahler's own variation technique.

Works: Mahler: Symphony No. 5 (9-15), Symphony No. 1 (9-10), Symphony No. 2 (9-10), Symphony No. 3 (9-10), Symphony No. 4 (9-10), Symphony No. 6 (9-10), Symphony No. 7 (9-10), Symphony No. 8 (9-10), Symphony No. 9 (9-10).

Index Classifications: 1900s

Contributed by: Nikola D. Strader

Index Classifications: 1900s

Some modern composers have felt limited by the mainstream avant-garde movement and have turned elsewhere for inspiration. This includes uses of music of the East, a tradition which goes back to Debussy and consists mostly of stylistic modeling. It also includes the use of jazz, which brings a popular style to art music. Avant-garde composers have also looked to music of the past, mostly to medieval music. While many use general stylistic references, a few have used direct borrowings. For example, Peter Maxwell Davies's Missa super L'Homme Armé offers his criticism on the material he borrows, demonstrating that the mass has degenerated in modern society; hence, he interrupts the sacred reference with the foxtrot. Donatoni reduces borrowed material to small sound bites, offering no respect for the composer's ego or personality. These and other examples demonstrate that the search for outside inspiration has advantages as well as disadvantages; some composers seem to seek mere novelty or shock value, but fresh developments in the field have been interesting in any case.

Works: Berio: Sinfonia (141-2); Davies: Missa super L'Homme Armé (142); Donatoni: Etwas ruhiger im Ausdruck (143-4).

Index Classifications: 1900s

Contributed by: Jessica Sternfeld

Index Classifications: 1900s

Index Classifications: 1800s, 1900s

A knowledge of Debussy's earliest works is important to the understanding of the development of his personal style. One can compare the first conception of an idea to its further realization in a later work. Two examples are considered: (1) Fête galante (a mélodie of 1882) and its later revision as the menuet of the Petite Suite (1889); and (2) La Fille aux cheveux de lin (a mélodie of ca. 1882-84) and the prelude for piano (Book I, 1910) of the same title. These works demonstrate that Debussy's personal style is already implicit in his earliest works.

Index Classifications: 1800s, 1900s

Contributed by: David C. Birchler

Index Classifications: General, 1800s, 1900s

About half the music of "Hawthorne," the second movement of Ives's Second Piano Sonata, Concord, Mass., 1840-60, also appears in The Celestial Railroad, a "Phantasy" for solo piano, and virtually all of the latter appears in the second movement of his Fourth Symphony. In Memos, Ives wrote that the sonata was written first, then the symphony movement, and then The Celestial Railroad. An examination of his manuscripts suggests a different order, in which The Celestial Railroad was adapted from "Hawthorne" and then was used in turn as the basis for the symphony movement. All three works have a common root in the abandoned "Hawthorne" Piano Concerto, conceived between 1910 and 1916 as part of Ives's planned "Men of Literature" series. The "Hawthorne" Concerto was reworked as the sonata movement. In the early 1920s, Ives was working on a "Concord" suite for piano, derived from the sonata. Four Transcriptions from "Emerson" recasts material from the first movement, and The Celestial Railroad, using material from "Hawthorne," was intended to be the second section of the suite. Clippings from the published score of the sonata appear in the manuscript of The Celestial Railroad. Ives worked on it in stages, affixing new patches with revisions onto the manuscript. The final stages correspond to material as presented in the Fourth Symphony movement. Thus Ives worked out the material in detail for The Celestial Railroad, then orchestrated the work for his Fourth Symphony. Because The Celestial Railroad predates the second movement of the Fourth Symphony, the program of the piano work--a short story by Hawthorne--may be used to interpret the narrative of the symphonic movement.

Index Classifications: 1900s

Contributed by: Elizabeth Bergman

The body of materials upon which Stravinsky based Pulcinella are organizes and clarified. First, Stravinsky's remarks on the process of composing Pulcinella are proven unreliable. Second, a table shows the Pulcinella source materials housed at the Paul Sacher Stiftung in Basel. Elements once falsely attributed to Pergolesi are movements from ten trio sonatas by Domenico Gallo, an air and a gavotte for keyboard by Carlo Monza, and a concerto attributed to Count Unico Wilhelm von Wassenaer. Verifiable Pergolesi sources are a movement from a cello sonata, eleven pieces from his operas Il flaminio and Lo Frate 'nnamorato, and one from his cantata Luce degli occhi miei. As a postscript, the discovery of an intermediary score of Pulcinella in the Stefan Zweig Collection of the British Library shows something of Stravinsky's compositional process and connects the sketches held at the Paul Sacher Stiftung with the fair copy piano score, also in the British Library.

Works: Stravinsky: Pulcinella.

Sources: Pergolesi: Twelve Sonatas for Two Violins and Bass (46, 49-50, 54-55, 62-63); Domenico Gallo: Trio No. 7 (49, 50-51, 62-64); Alessandro Parisotti: Arie Antiche, "Se tu m'ami" (46, 62-63); Carlo Monza: Pièces Modernes pour le clavecin, Suite in E Major, Air (51-52, 62, 64); Unico Wilhelm van Wassenaer: Concerti Armonici, no. 2 (52-53, 62-63); Carlo Monza: Pièces Modernes pour le clavecin, Suite in D Major, Gavotte (53-54, 62, 64); Pergolesi: Il Flaminio, "Mentre l'erbetta pasce l'agnella" (55, 62-63), "Con queste paroline" (55, 62-63), Luce degli occhi miei, "Contento forse vivere" (55, 62-63), Lo Frate 'nnamorato, "Pupilette, fiammette d'amore" (55, 62, 64), "Chi disse c'à la femmena" (55, 62-63), "Gnora credeteme ch'accosi è" (55, 62-63), Nina's aria from Act III, scene 3, introduction (56, 62-63), "Sento dire non c'è pace" (56, 62-63); Pergolesi: Il Flaminio, "Benedetto maledetto" (62-63).

Index Classifications: 1900s

Contributed by: David Lieberman

Index Classifications: 1900s

Edvard Grieg's Peer Gynt Suites carry cultural codes for the complex and ironic relationship between human and monster. These codes were recognized by authors such as Lageröf, Lie, and Ibsen, and they enter intertextually into films like Griffith's Birth of a Nation. Fritz Lang uses Peer Gynt to represent a murderer in M, and after this film, the music takes on generically spooky connotations. The film Needful Things goes beyond coding for malevolence by taking advantage of the written-in acceleration of Peer Gynt (beginning it early and making it quite fast) and synchronizing the music with the onscreen action. Film scenes using Peer Gynt exemplify Nicholas Cook's categories of conformance and contest, which characterize the relationship between image and music (the elements are invertible or each medium deconstructs the other, respectively).

Works: D. W. Griffith (director) and Joseph Carl Breil (composer): Sound track to Birth of a Nation (74-75); Fritz Lang (director): Sound track to M (77-80); Dario Argento (director): Sound track to Demoni (81-82); Fraser Clarke Heston (director): Sound track to Needful Things (80-85); Jerry Zucker (director): Sound track to Rat Race (84-85).

Sources: Edvard Grieg: Peer Gynt Suite (74-87); Schubert: Ave Maria (82); Patrick Doyle: Dies irae (82).

Index Classifications: 1900s, Film

Contributed by: Karen Anton Stafford

While William Grant Still's Afro-American Symphony, Florence Price's Symphony in E Minor, and William Dawson's Negro Folk Symphony are examples of American musical nationalism, they also represent the culmination of the Harlem Renaissance, an affirmation of the black cultural heritage in which composers sought to elevate the Negro folk idiom to symphonic form. Still's Afro-American Symphony is based on a theme in the Blues idiom. The second theme of the first movement of Dawson's Negro Folk Symphony is based on the spiritual "Oh, M' Littl' Soul Gwine-a Shine," and the two themes of the third movement are based on the spirituals "O Le' Me Shine, Lik' a Mornin' Star" and "Hallelujah, Lord I Been Down into the Sea." In Symphony in E Minor, Price is more subtle in her use of elements from the Afro-American folk tradition: her instrumentation calls for African drums; the principal theme of the first movement and its countermelody are built upon a pentatonic scale (the most frequently used scale in Afro-American folk songs); and the third movement is based on the syncopated rhythms of the Juba, an antebellum folk dance.

Index Classifications: 1900s

Contributed by: Reginald Sanders

From the earliest beginnings of jazz, classical music has played a role in its development. Early and pre-jazz musicians were known to have performed classical music publicly, and others, such as Scott Joplin, studied with European teachers. As jazz moved into the twentieth century, the borrowing of classical music instrumentation became prominent. In the 1950s, jazz musicians employed fugal writing, as exemplified by Dave Brubeck's Fugue on Bop Themes, among other works. In the 1960s, twelve-tone rows were utilized, as exemplified by Bill Evans's T.T.T. Also, the procedure known as "jazzin' the classics" has been a constant feature within jazz tradition, from Jelly Roll Morton's recording of a version of the Misere from Il Trovatore through Joe Walsh's synthesized arrangement of Ravel's Pavane of the Sleeping Beauty. An appendix includes selective annotated discography.

Works: Brubeck: Fugue on Bop Themes (22); Lewis: Vendome (23), Three Windows (23), Concorde (23), Versailles (23); Hampton: Fugue (23); Williams: Prelude and Fugue (23); Ferguson: Passacaglia and Fugue (23); Johnson: Music for Brass (23); Schuller: Abstraction (23); Bank: Equation Part I (23); De Franco: 12-Tone Blues (23); Giuffre: Densities I (23); Farberman: . . . Then Silence (23); Smith: Elegy for Eric (23); Schifrin: The Ritual of Sound (23); Coltrane: Miles Mode (24); Evans: T.T.T. (24-25); Heckman: The Twelves (26); Waller: Russian Fantasy (26); Morton/Verdi: Misere (26-27); Gershwin: The Man I Love as performed by Paul Whiteman (27); Ellington: Ebony Rhapsody (27); Walsh/Ravel: Pavane of the Sleeping Beauty (30); Ginastera: Toccata as performed by Emerson, Lake, and Palmer (30).

Sources: Liszt: Rigoletto Concert Paraphrase (26); Rossini: William Tell Overture (26); Grieg: Peer Gynt Suite (26); Rachmaninoff: Prelude in C sharp Minor (26); Verdi: Il Trovatore (26-27); Liszt: Hungarian Rhapsody No. 2 (27); MacDowell: To a Wild Rose (27); Rimsky-Korsakov: Song of India (27); Wagner: Tristan and Isolde (27); Bach: Toccata and Fugue in D Minor (27), Passacaglia in C (27); Stravinsky: Rite of Spring (28, 30); Ginastera: Toccata (30); Ravel: Mother Goose Suite (30).

Index Classifications: 1900s, Popular

Contributed by: Eytan Uslan

Luigi Dallapiccola's use of symbolism has been a fundamental part of his compositional process throughout his life. Symbolic techniques range from a madrigalian style of text painting to complex structural associations to ideograms and personal rhythmic representation. One of the most salient forms of symbolism in Dallapiccola's music can be found in his practice of self-quotation. Beginning as early as 1937, Dallapiccola quotes thematic material from his Tre laudi in Volo di notte. His 1942 Liriche greche quotes sections from the Cinque frammenti di Saffo, and this practice continues in the composer's quotation of the Canti di prigionia in Il prigioniero as well as the Quaderno musicale di Annalibera and Il prigioniero in the Canti di liberazione. The culmination of this practice is Dallapiccola's 1968 opera Ulisse, in which quotations from a wide range of the composer's previous works can be found, especially in the work's Epilogue. Many times these self-borrowings have a symbolic meaning in that they draw upon earlier dramatic or textual contexts present in the original works and insert those associations into a new musical environment. The wide-reaching use of self-quotation in Dallapiccola's work not only serves a symbolic function but also works as a unifying factor in the composer's output as a whole.

Works: Dallapiccola: Volo di notte (277-80), Liriche greche (280-82), Due liriche di Anacreonte (282), Il prigioniero (282-89), Canti di liberazione (282-90), Il Cenacolo--Le vicende del capolavoro di Leonardo da Vinci (290), Variazioni (290), Ulisse (290-302), Sicut Umbra (303-4).

Sources: Dallapiccola: Tre laudi (277-80), Cinque frammenti di Saffo (280-82), Canti di Prigionia (282-84), Il prigioniero (284-90, 295), Quaderno musicale di Annalibera (289-90), Goethe-Lieder (290-94), Volo di notte (294-95), An Mathilde (297-98), Requiescant (299-302), Canti di liberazione (301-2), Ulisse (302-4).

Index Classifications: 1900s

Contributed by: Elizabeth Elmi

Certain characteristics of "classical" music (in styles from Baroque to late Romantic) were adopted and changed in the music of the early cinema. On the surface, film music from the mid 1920s through the early 1940s shares certain aesthetic principles with the music of Mozart, Haydn, and Beethoven, such as a similar manipulation of themes and motives. Although many existing compositions were employed in early film scores, the aesthetics of the music newly composed for film are the primary focus (Chapters 2-3, pp. 12-66). The "Interviews" section (pp. 269-334) offers candid discussions of and useful insights into the compositional process of film music composers, such as the comment from Harold Shore that "You're constantly in the music library digging up old records, writing new pieces, parodying pieces of this or that."

Index Classifications: 1900s, Film

Contributed by: David Oliver

Shostakovich's D-S-C-H motive (D-Eb-C-B) as it first appears in his Tenth Symphony was potentially derived from two possible sources: from Shostakovich's own works, dating back to his First Symphony, or from the use of similar motives in the works of composers Shostakovich admired, such as Bach or Schumann. When considered as a specific transposition and ordering of a 0134 tetrachord, the D-S-C-H motive can be seen as the culmination and ultimate distillation of certain compositional techniques favored by the composer in works predating the Tenth Symphony, such as "modal lowering" (in which Shostakovich flattens various scale degrees, thereby creating a 0134 tetrachord), "modal clash" (in which various forms of the same scale degree are juxtaposed), and "scalar tightening" (in which Shostakovich contracts a given scale down to four pitches). These techniques all resulted in 0134 tetrachords, and Shostakovich gradually came to favor and repeat the "D-S-C-H level" tetrachord that has come to be associated with the first letters his name. However, Shostakovich's use of a specific four-note motive can also be viewed as an imitation of other four-note motives, either by contemporary or past composers who used prominent 0134 tetrachords (ranging from Bach to Stravinsky) or by composers from the past who used motives to represent names or ciphers (such as the B-A-C-H motive or Schumann's A-S-C-H motive from Carnaval, both of which share pitches with Shostakovich's D-S-C-H motive). Both theories of origin are plausible and are not mutually exclusive; however, the theory that the D-S-C-H motive is derived from earlier examples of 0134 tetrachords in Shostakovich's own works might better explain why his namesake motive emerged as gradually and late in his output as it did.

Works: Shostakovich: Symphony No. 10 in E Minor (69-72, 74, 85, 87-89), String Quartet No. 8 in C Minor (69, 95).

Sources: Shostakovich: Symphony No. 1 in F Minor (71, 79-81), String Quartet No. 5 in B-flat Major (71-72), Violin Concerto No. 1 in A Minor (71, 73), Twenty Four Preludes, Op. 34 (74-77), Piano Sonata No. 2 in B Minor (76, 78), Six Romances on Texts by Japanese Poets (82-83), Symphony No. 6 in B Minor (82-84), String Quartet No. 2 in A Major (83-87), From Jewish Folk Poetry, Op. 79 (95); Robert Schumann: Carnaval (90-91), Doppelgänger (91-92); J. S. Bach: The Art of Fugue (90-91), The Well-Tempered Clavier (91-92); Ravel: Rapsodie espagnole (91-92); German Galynin: Piano Concerto (91); Veniamin Fleyshman: Rothchild's Violin (91-93); Stravinsky: Symphony of Psalms (96-98), Octet (98); Rimsky-Korsakov: The Tsar's Bride (98-100).

Index Classifications: 1900s

Contributed by: Alexis Witt

The "Indianist" composers of the period 1890-1920 took two approaches to the Native melodies that they used: music as raw material, and music as culture. Edward MacDowell used the Native melodies collected by Theodore Baker in his ‹ber die Musik der nordamerikanischen Wilden (1882). For MacDowell, these tunes were strictly raw musical material, with no reference or attention to tribal sources. Whatever cultural interpretation he made of the music is a generic one based on Lewis Henry Morgan's theory of "cultural evolutionary stages." Arthur Farwell's source of Native melodies came from the work of Alice Fletcher and Francis LaFlesche, whose research focused on the Omaha nation and dealt extensively with cultural context. Ultimately, the Indianist composers sacrificed cultural authenticity as a result of their attempt to make the music accessible for a consumer culture.

Works: Edward MacDowell: Second ("Indian") Suite, Op. 48 (268-71), Second Sonata (Eroica), Op. 50 (271); Arthur Farwell: American Indian Melodies: "The Old Man's Love Song" (277, 279).

Sources: Kiowa melody, collected by Theodore Baker: "Kiowa Song of a Mother to Her Absent Son" (269-71); Omaha melody, collected by Alice Fletcher: "Be-Thae Wa-An" (277-78).

Index Classifications: 1800s, 1900s

Contributed by: Felix Cox

For his ballet The Fairy's Kiss, Stravinsky borrows harmonic progressions, melodic fragments, and general style characteristics from Tchaikovsky's early piano pieces and songs. Similarities in style might also be the result of both composers' Russian nationality and embrace of classicism. Though a large portion of Stravinsky's score does borrow from Tchaikovsky, Stravinsky writes several unique passages of his own. Literal quotations rarely last for more than a few measures, as Stravinsky commonly expands upon Tchaikovsky's material. Aside from Stravinsky's quotation and expansion upon Tchaikovsky's works, there are a few moments in The Fairy's Kiss wherein style and orchestration become more overtly romantic or the texture becomes static. These moments sound plain and "un-Stravinskian" and likely led to contemporary criticism of the ballet. Stravinsky's later re-working of The Fairy's Kiss into a concert version (Divertimento) is devoid of these moments.

Works: Stravinsky: The Fairy's Kiss.

Sources: Tchaikovsky: Zwölf mittelschwere Stücke, Op. 40, No. 7 (12-13), Natha-Valse, Op. 51, No. 4 (13-14), Humoreske, Op. 10, No. 2 (14-15).

Index Classifications: 1900s

Contributed by: Laura B. Dallman

Charles Ives’s Concord Sonata, together with his Essays before a Sonata, can be read through the lens of turn-of-the-century psychologist William James’s work on the functioning of the human brain, yielding new insights into the behavior of Ives’s music. James conceptualizes consciousness as a flowing “Stream of Thought” in which fringe images fill the space between more concrete ideas. Throughout Concord Sonata, Ives constructs a sense of musical vagueness comparable to the Jamesian fringe through uncertain meter and key signatures as well as obscured and distorted musical borrowing. The structure of the sonata is also related to James’s metaphor of “flights” and “perches” in that relatively stable musical phrases emerge from the hazy musical texture. Although Ives does not directly address James’s psychological theories in Essays before a Sonata, he does incorporate many of James’s ideas, which were widespread at the time. Furthermore, James’s cosmological ideas about the multiverse (an extension of his psychological work) are expressed in Ives’s Concord Sonata as well as his Fourth Symphony through their incorporation of borrowed material from many varied musical sources and connections to other works.

Works: Charles Ives: Piano Sonata No. 2: Concord Mass., 1840-1860 (179-84), Symphony No. 4 (189-91)

Sources: David T. Shaw (or Thomas A’Becket): Columbia, the Gem of the Ocean (179-80, 190); Stephen Foster: Massa’s in da Cold Ground (180); Beethoven: Symphony No. 5 in C Minor, Op. 67 (180-81); Traditional: Loch Lomond (183-184); Wagner: Lohengrin (183-84); A. F. Winnemore: Stop That Knockin’ at My Door (183-84); Lowell Mason: Watchman (189), Missionary Hymn (190), Bethany (191); Charles Ives: Piano Sonata No. 2: Concord Mass., 1840-1860 (190), String Quartet No. 1 (190); Oliver Holden: Coronation (190)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1800s, 1900s

Ella Fitzgerald and Louis Jordan’s 1945 recording of Stone Cold Dead in the Market, a reworked Barbadian folk song about an abused wife murdering her husband, was able to become a rhythm and blues hit in part because the Caribbean styling produced an exoticized cultural mask which allowed for frank portrayals of taboo subjects. The Barbadian folk song, usually known as Murder in the Market or Payne Dead, has been collected in several versions and was likely known in Trinidad by the 1910s. The first commercial recording of the song was made by calypso artist Wilmouth Houdini in 1939. Houdini’s version, called He Had It Coming, had modified lyrics aimed at an American audience, making it an early example of calypso crossover. Fitzgerald and Jordan’s Stone Cold Dead is a re-recording of He Had It Coming that changes the song in several ways to make it a more popular American hit. Fitzgerald and Jordan’s arrangement is faster than Houdini’s and includes instrumentation (muted trumpet, maracas, and claves) typical of post-war Americanized calypso and “Latin” music. They also modified the lyrical structure of the song, repeating the refrain and title line to create a verse-chorus structure with a clear melodic hook. Some lyrics were also changed to be in first-person perspective, and Fitzgerand and Jordan sing with affected West Indian accents. Several artists recorded cover versions of Stone Cold Dead, occasionally with nods to Houdini’s version or earlier folk variations. Although the song addresses the often-unspoken issue of domestic violence, it does so through stereotyping and exoticizing West Indian culture.

Works: Wilmouth Houdini: He Had It Coming (9-13); Ella Fitzgerald and Louis Jordan: Stone Cold Dead in the Market (13-15); Betty Mays and Her Orchestra: Stone Cold Dead in the Market (He Had It Coming) (15); Grace Berrie: Stone Cold Dead in the Market (15-16); Alan Lomax: Stone Cold Dead in the Market (16); Maya Angelou: Stone Cold Dead in the Market (16).

Sources: Traditional: Murder in the Market / Payne Dead (9-13, 16); Wilmouth Houdini: He Had It Coming (13-15); Ella Fitzgerald and Louis Jordan: Stone Cold Dead in the Market (15-16).

Index Classifications: 1900s, Popular

Contributed by: Matthew Van Vleet

The works of Gustav Mahler have exerted a profound influence on those of George Crumb, especially in the latter's settings of Federico Garcia Lorca's poetry. These influences include formal and tonal designs, instrumentation, notation, poetic imagery, motivic structure, and theatrical effects. Self-quotation is also present in Crumb's music, as in the finger-cymbal crashes in Echoes of Time and the River and Night Music I. Mahler's Das Lied von der Erde has also been a fertile source for Crumb, as his Songs, Drones and Refrains of Death borrows from it heavily. The use of a guitar and mandolin in Mahler's Symphony No. 7 is echoed in Crumb's Songs, Drones and Refrains of Death, Eleven Echoes of Autumn, 1965, and Makrokosmos I. An oboe figure from the Mahler is obviously evoked in Ancient Voices of Children.

Works: Crumb: Night Music I (9-14, 16-17, 22), Echoes of Time and the River (9, 14, 20), Ancient Voices of Children (10, 24-33), Eleven Echoes of Autumn, 1965 (12-15, 20, 24, 33), Songs, Drones and Refrains of Death (14-15, 17-20, 26), Makrokosmos I (15-17), Night of the Four Moons (21-24, 33), Five Pieces for Piano (36).

Sources: Bartok: Out of Doors (11); Mahler: Symphony No. 7 (10, 15, 17, 33, 35-6), Das Lied von der Erde (12, 15, 17, 20-33), Symphony No. 6 (17, 33), Symphony No. 5 (20), Das Klagende Lied (20), Symphony No. 9 (21); Haydn: Symphony No. 45, Farewell (21-22); Mahler: Symphony No. 3 (29), Symphony No. 4 (29).

Index Classifications: 1900s

Contributed by: Marc Geelhoed

Although the short-lived Celtic Twilight movement in fin-de-siècle Britain was primarily expressed in literature and visual art, Rutland Boughton’s 1912 opera The Immortal Hour exemplified the aesthetics of the movement musically and had a lasting impact on public life in Great Britain. William Butler Yeats defined the Celtic Twilight movement in literature, employing themes of pan-Celtic mythmaking, nostalgia, sexual dissidence, and mysticism. These themes were shared with the broader European movements of Decadence and Symbolism. In music, some Celtic revivalists collected and transcribed Irish folksongs. Others, including Boughton, attached themselves to a Wagnerian aesthetic after Wagner drew on Celtic mythology in Tristan und Isolde. The Immortal Hour was based on an 1899 play by Fiona Macleod (the pen name of William Sharp), loosely based on the Celtic myth “The Wooing of Étaín.” Much of the score has a modal, folk-like character, but Boughton regularly alluded to Wagner’s operas, especially Tristan. Specific allusions include Klingsor’s leitmotif in Parsifal and the Tristan chord. Structural allusions include the way Boughton foreshadows the Faery Song before it is sung complete, which mirrors Wagner’s treatment of the Preislied in Die Meistersinger von Nürnberg. The Winterstürme from Die Walküre also clearly influenced the storm music in the second scene of The Immortal Hour. After the First World War, revival performances of the opera found great success with the British public, and it particularly appealed to the emerging middlebrow sensibility. The spiritualism and communion with the faery world in The Immortal Hour especially resonated with the collective mourning of the British public in the wake of the Great War.

Works: Rutland Boughton: The Immortal Hour (316-21)

Sources: Wagner: Parsifal (317), Die Meistersinger von Nürnberg (317-18), Tristan und Isolde (319-21), Die Walküre (320-21)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

There are many connections between Mahler and the Second Viennese School. At least one example of melodic resemblance exists, but more important is Webern's distinctive orientation to sound, for which Mahler is the predecessor. The flow of the movement is suspended in a number of episodes in Mahler's Tempo di Minuetto (Symphony No. 3) and Lied von der Erde. The extremely transparent orchestration and the equal importance of all the parts--often combined with ritardando--constitute "spaces of sound" (Klangräume), structuring the piece formally. The "space of sound" in Webern's fourth variation of the second movement of the Symphony Op. 21 becomes the axis of symmetry on which the whole work is constructed and to which all the other "sound-identical" spaces are structurally related. The comparisons between Webern's symphony and Mahler's Lied von der Erde seem to imply not only that Webern was influenced by Mahler but that the "spaces of sound" in Webern can be traced from specific episodes in Mahler's work.

Works: Webern: Langsamer Satz for String Quartet (165); Six Pieces for Orchestra, Op. 6 (170); Symphony, Op. 21 (172).

Index Classifications: 1900s

Contributed by: Andreas Giger

Index Classifications: 1900s

Index Classifications: 1900s

It has long been known that Charles Ives borrows from other composers and from himself. These borrowings have generally been labeled quotations. However, quotation is not the only technique Ives uses when he is alluding to other pieces. Others include modeling (emulation), paraphrasing, cumulative setting, and quodlibet. The emphasis of this article is on Ives's use of models since this has not yet been discussed. If a composer models his piece on another, he borrows the structure or reworks musical material to build the framework of the composition. The use of models is the most important factor to consider in tracing the compositional process. Motivic borrowings are only the most visible part of a deeper dependence on the sources, allusions that lead us to the pieces on which Ives modeled his compositions.

Works: Ives: Holiday Quickstep, Slow March, Turn Ye, Turn Ye, Waltz, Study No. 20 for Piano, The One Way, Charlie Rutlage, Serenity, On the Counter, The Celestial Country, West London.

Index Classifications: 1800s, 1900s

Contributed by: Andreas Giger

Most of the borrowings in Ives's Second Symphony are not quotations but paraphrases. They are not inserted into an existing framework but form the very basis of the piece. All of the themes paraphrase American vernacular tunes, and the themes in turn provide the material for developments and transitions. In each movement one or more transitional passages are paraphrased from episodes from music by Bach, Brahms, or Wagner. This connection is the first real synthesis of American and European musical traditions in Ives's oeuvre, uniting the sound of American melody with the forms and procedures of the European symphony.

Index Classifications: 1900s

Contributed by: Andreas Giger

As a performer and composer, Charles Ives worked in four distinct musical traditions: American popular music, American Protestant church music, European classical music, and experimental music. In his mature music, Ives synthesizes these traditions into a new modernist idiom. Ives initially worked in these four traditions independently, occasionally modeling his compositions on existing works in their tradition; for instance, his First Symphony is modeled on Dvořák’s New World symphony and echoes music by Beethoven, Mendelssohn, Schubert and Tchaikovsky. Later in his career, Ives frequently combined elements from two or more of these four traditions in a single work, often through various musical borrowing practices. In his 1914 song General William Booth Enters Into Heaven, Ives weaves all four musical traditions together. Popular music is evoked by the marching band “street beat” cadence—realized by an experimentalist recreation of drum sounds using dissonant piano chords—and by the paraphrase of James A. Bland’s minstrel song Oh, Dem Golden Slippers. Protestant hymns are evoked by Ives’s borrowing of There Is a Fountain Filled with Blood. Finally, the song itself is constructed as a Romantic art song, meant to convey to the listener a vicarious experience of the text. The variety in Ives’s music should not be understood as a lack of discipline, but as versatility to appeal to a broad range of musical tastes.

Works: Ives: Holiday Quickstep (6-7), Symphony No. 1 in D Minor (12-13), General William Booth Enters Into Heaven (23-29)

Sources: David Wallis Reeves: Second Regiment Connecticut National Guard March (7); Dvořák: Symphony No. 9 in E Minor, From the New World (12-13); William Cowper: There is a Fountain Filled with Blood (24, 26-28); James A. Bland: Oh, Dem Golden Slippers (25-26)

Index Classifications: 1800s, 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1800s, 1900s

One significant contributing element to musical meaning is the principle of association, which can be modeled in five steps: (1) recognizing familiar elements, (2) recalling other music that uses those elements, (3) perceiving associations the other music may carry, (4) noticing what is new or changed, and (5) interpreting what this means. One method of testing this model is to analyze several pieces whose meaning can in part be derived from their association with military bugle calls. Military calls themselves have specific arbitrary meanings. Hearing a military call can evoke memories that suggest emotional associations. Some music, like Charles Ives’s Decoration Day, uses listeners’ familiarity with certain tunes (in this case, Taps) to convey specific meaning. Other music relies on familiarity with a general melodic shape or style; George M. Cohan’s World War I song Over There uses a figure that is recognizable as a bugle call (perhaps a cross between Taps and Reveille), but is not actually a quotation of a bugle call. Aaron Copland’s Fanfare for the Common Man recalls the familiar timbre and texture of a bugle call, giving the piece an associative meaning of military dignity, nobility, and duty. Alternatively, other meanings for Fanfare for the Common Man arise if one hears it as reminiscent of Richard Strauss’s Also sprach Zarathustra. In absolute music, the generic, formal, or internal conventions of a familiar reference in a piece—a fanfare topic in a Mozart sonata, for instance—can also generate meaning. Meaning related to musical syntax can also be examined with the association model. There are several implications of this associative model of musical meaning: (1) meaning depends on what the listener knows, (2) music acquires meanings through use, (3) the most familiar music is often the most meaningful, (4) meaning depends on context, (5) meaning depends on interpretation, (6) musical meaning can change as listeners learn, and (7) this model provides a framework for communicating about musical meaning.

Works: Ives: Decoration Day (83-84); George M. Cohan: Over There (85); Copland: Fanfare for the Common Man (89-93)

Sources: Anonymous: Taps (83-85), Reveille (85); Lowell Mason: Nearer, My God, to Thee (83-84); Strauss: Also sprach Zarathustra (89-93)

Index Classifications: 1900s, Popular

Contributed by: Matthew Van Vleet

Charles Ives is as much a part of the European tradition of art music as are his progressive contemporaries in Europe. Ives’s character as a composer was greatly influenced by German Romanticism, which he absorbed through his composition teacher, Horatio Parker. Ives’s connection to the European Romantic tradition can be traced through his use of allusion and quotation throughout his career. Early compositions, up to and including his First Symphony, demonstrate how Ives learned to compose by imitating European models. In his Second Symphony, Ives begins to establish a distinctive voice by emphasizing allusion and quotation of American material. At the same time, the Second Symphony also adopts the elaborate forms of European art music and borrows material from Brahms, Bach, and Wagner. In his Third Symphony, Ives invests American tunes with the seriousness of European art music. The Fourth of July, which culminates with a quotation of Columbia, the Gem of the Ocean, exemplifies Ives’s increasing turn to American subjects and careful use of quotation and texture. While Ives’s importance as an avant-garde composer is certain, he is also a worthy peer of his European contemporaries of international stature.

Works: Ives: Holiday Quickstep (43), Slow March (43), Variations on America (43), Symphony No. 1 in D Minor (44-45), Symphony No. 2 (46), The Fourth of July (48-49)

Sources: Handel: Saul, HWV 53 (43); Johann Christian Heinrich Rinck: Theme and Variations in C Major on God Save the King (43); Dvořák: Symphony No. 9 in E Minor, From the New World (44-45); Wagner: Tristan und Isolde (46); David T. Shaw (or Thomas A’Becket): Columbia, the Gem of the Ocean (48)

Index Classifications: 1800s, 1900s

Contributed by: Matthew Van Vleet

Charles Ives is as much a part of the European art music tradition as are his progressive European contemporaries. Ives’s adoption of European genres, ideal of music practiced for its own sake, penchant for program music, nationalism, and desire to express new things in music all show the influence of European Romanticism, which Ives learned in large part from his composition teacher, Horatio Parker. When analyzing the idea of allusion and quotation through Ives’s compositions in chronological order, a clear pattern of development emerges. Ives began by imitating musical models; for example, his early Polonaise in C is modeled on the sextet from Donizetti’s Lucia di Lammermoor. His First Symphony continues this practice of modeling, but now in the spirit of competition. The second movement theme is an elegant condensation of the second movement theme of Dvořák’s New World symphony, and as such it can be read as a sincere challenge to the famous tune. In his Second Symphony, Ives begins to claim a distinctive voice as a composer by using borrowed material to celebrate American music within the European symphonic tradition. This process of self-assertion continues in the Third Symphony, which includes the first instance of Ives’s new “cumulative form,” borrowing the principles of development that underlie the European tradition. The Fourth of July, a symphonic poem also using cumulative form, exemplifies Ives’s mature style and an extraordinary complexity of quotation used to evoke the process of memory. Still, the nationalism and programmaticism underlying The Fourth of July are rooted in European Romanticism. While Ives certainly deserves his avant-garde reputation, he is also a composer whose music is rooted in the European tradition and a worthy peer to his European contemporaries.

Works: Ives: Polonaise in C (15-18), Ich grolle nicht (19-22), Symphony No. 1 in D Minor (22-26), Symphony No. 2 (26-28), Symphony No. 3 (28-31), The Fourth of July (31-32)

Sources: Donizetti: Lucia di Lammermoor (15-18); Robert Schumann: Ich grolle nicht from Dichterliebe, Op. 48 (19-22); Tchaikovsky: Symphony No. 6 in B Minor, Op. 74, Pathétique (22); Beethoven: Symphony No. 9 in D Minor, Op. 125 (22); Schubert: Symphony No. 8 in B Minor, D. 759, Unfinished (22); Dvořák: Symphony No. 9 in E Minor, From the New World (22-25); Henry Clay Work: Wake Nicodemus (26-27); William B. Bradbury: Woodworth (28-31); C. G. Gläser, Lowell Mason (adapter): Azmon (28-31); David T. Shaw (or Thomas A’Becket): Columbia, the Gem of the Ocean (31-32)

Index Classifications: 1800s, 1900s

Contributed by: Matthew Van Vleet

Musicians use a broad spectrum of practices to make new music out of old: performance, including everything from making performing choices to improvising variants or added material; creating a new version of a piece by arranging it, transcribing it for different media or setting it with a new accompaniment; borrowing material from one or more existing pieces to use in a new one; building a new piece out of schemas, shared routines that can be deployed in endless new combinations; using topics, references to familiar styles and types of music, to delineate form and create meaning through association; and other forms of intertextuality, which encompasses these and other kinds of relationships between and among pieces of music. Borrowing has been a subject of musical scholarship for centuries, and in the past four decades scholars have developed parallel fields of study focused on the others. Each of these approaches is useful, drawing our attention to significant and longstanding practices in our musical tradition and to ways creators shape music and listeners understand it. Moreover, all of these scholarly approaches and musical practices are related, serving to demonstrate how central to our tradition are our many ways of making old music new.

Works: Franz Liszt: William Tell Overture, S. 552 (72); Bob Rivers: Not So Silent Night (72-73, 78); Stravinsky: Pulcinella (73), The Fairy’s Kiss (73); Josquin Desprez: Missa Pange lingua (74); Charles Ives: Symphony No. 2 (74, 78)

Sources: Rossini: William Tell Overture (72); Franz Xaver Gruber (composer), John Freeman Young (English lyricist): Silent Night (72-73, 78); Henry Clay Work: Wake Nicodemus (74); David Walker (composer), Anonymous (lyricist): Where, O Where are the Verdant Freshmen? (78)

Index Classifications: 1500s, 1900s, Popular

Contributed by: J. Peter Burkholder, Matthew Van Vleet

Studies of allusion, modeling, paraphrase, quotation, and other forms of musical borrowing hinge on the claim that the composer of one piece of music has used material or ideas from another. What evidence can be presented to support or refute this claim? How can we know that the material is borrowed from this particular piece and not from another source? How can we be sure that a similarity results from borrowing and is not a coincidence or the result of drawing on a shared fund of musical ideas? These questions can be addressed using a typology of evidence organized into three principal categories: analytical evidence gleaned from examining the pieces themselves, including extent of similarity, exactness of match, number of shared elements, and distinctiveness; biographical and historical evidence, including the composer’s knowledge of the alleged source, acknowledgment of the borrowing, sketches, compositional process, and typical practice; and evidence regarding the purpose of the borrowing, including structural or thematic functions, use as a model, extramusical associations, and humor. Ideally, an argument for borrowing should address all three categories. Exploring instances of borrowing or alleged borrowing by composers from Johannes Martini and Gombert through Mozart, Brahms, Debussy, Ives, Stravinsky, and Berg illustrates these types of evidence. The typology makes it possible to evaluate claims and test evidence for borrowing by considering alternative explanations, including the relative probability of coincidence. A particularly illuminating case is the famous resemblance between the opening themes of Mozart’s Bastien und Bastienne and Beethoven’s Eroica Symphony, discussed by hundreds of writers for more than 150 years. Bringing together all the types of evidence writers have offered for and against borrowing shows why the debate has proven so enduring and how it can be resolved.

Works: Berlioz: Symphonie fantastique (227, 241); Liszt: Totentanz (227); Camille Saint-Saëns: Danse macabre (228); Rachmaninoff: Rhapsody on a Theme of Paganini (228), Symphonic Dances (228); Luigi Dallapiccola: Canti di Prigionia (228); Alban Berg: Lyric Suite (229-30, 233), Warm die Lüfte (237-41); Claude Debussy: Golliwogg’s Cakewalk, from Children’s Corner (229-31, 233-34), Pour la danseuse aux crotales, from Six epigraphes antiques (237-41); Nicolas Gombert: Ave regina celorum (231-33); Mozart: Requiem in D Minor, K. 626 (235-36); Brahms: Symphony No. 4 in E Minor, Op. 98 (237); Ives: Symphony No. 1 in D Minor (235), Violin Sonata No. 4 (242-43); Stravinsky: The Rite of Spring (244-46); Beethoven: Symphony No. 3 in E-flat Major, Op. 55, Eroica (250-65)

Sources: Attributed to Thomas of Celano: Dies irae (227-28, 241); Wagner: Tristan und Isolde (229-31, 233-34); Poissy Antiphonal: Ave regina celorum (231-33); Dvořák: Symphony No. 9 in E Minor, Op. 95, From the New World (235); Bach: Chaconne, from Partita No. 2 in D Minor for Solo Violin, BWV 1004 (237); Ravel: Gaspard de la nuit (237-41); William Howard Doane: Old, Old Story (242-43); Mozart: Bastien und Bastienne (250-65)

Index Classifications: 1500s, 1800s, 1900s

Contributed by: J. Peter Burkholder, Matthew Van Vleet

Juxtaposing disparate styles is a defining characteristic of Ives’s music. Analyzing The Alcotts from the Concord Sonata, Larry Starr showed how styles ranging from diatonic tonality to three distinct post-tonal styles delineate the form, and argued that Ives was exceptional in embracing “stylistic heterogeneity” as a basic principle. Yet Ives’s practice fits well in the tradition of musical topics described by Leonard Ratner and others, especially the coordination of contrasting styles to provide variety and articulate the form. A topical approach also reveals how using styles that carry particular associations creates expressivity and mean- ing. Ives uses as topics numerous traditional styles, beginning in his early tonal music, as well as modernist stylizations of familiar styles. Often, these musical topics overlap considerably with Ives’s use of borrowed musical material. For example, in The Alcotts the hymn topic contains material derived from Missionary Hymn and the pounding chords of the Hammerklavier topic explicitly evoke Beethoven’s Hammerklavier sonata. Understanding Ives’s stylistic heterogeneity as the use of topics allows a deeper and more comprehensive analysis of The Alcotts and other works and links his practice to that of past composers such as Mozart.

Works: Ives: Memories (177-81), Symphony No. 2 (181-83), Luck and Work (186-89), Piano Sonata No. 2: Concord, Mass., 1840-60 (189-97)

Sources: Stephen Foster: Gentle Annie (178-81), Massa’s in de Cold Ground (183) Anonymous: Pig Town Fling (181-83); Schubert: Gretchen am Spinnrade (186-76); Robert Robinson: Come, Thou Fount of Ev’ry Blessing (187-88); Wagner: Lohengrin (191-92); A. F. Winnemore: Stop That Knocking at My Door (192); Lowell Mason: Missionary Hymn (192-94); Beethoven: Piano Sonata No. 29 in B-flat Major, Op. 106, Hammerklavier (192-97), Symphony No. 5 in C Minor, Op. 67 (193-94)

Index Classifications: 1800s, 1900s

Contributed by: J. Peter Burkholder, Matthew Van Vleet

Many elements of Charles Ives’s compositional technique, including some that seem to be his most radical, can be traced back to his early career as a church organist. Although pieces for solo organ make up a small part of Ives’s output, there are several pieces (including movements of symphonies 2, 3, and 4 and A Symphony: New England Holidays) that Ives reworked from now lost organ pieces. Four aspects of organ performance influence Ives’s later music, even when the organ itself is not especially prominent: improvisation, virtuosity, multiple keyboards with contrasting timbres, and mutation stops. Additionally, three characteristics of organ literature, fugue, pedal point, and elaboration of hymns, influenced the new directions Ives took in his music. For example, Ives links organ fugue and hymn practices in a lost organ fugue that was adapted into his String Quartet No. 1 and Symphony No. 4. The subject of this fugue was the first phrase of Missionary Hymn and the countersubject was a phrase of Coronation. In Symphony No. 4, both the fugue and hymn tunes evoke the extramusical “formalism and ritualism” of Ives’s program. Elements of Ives’s cumulative form are also anticipated in organ music introducing and accompanying hymns. Mendelssohn’s Organ Sonata No. 1 in particular anticipates several elements of Ives’s cumulative form practice, including adapting a hymn tune as a theme, stating the theme at the end, and developing variants of the tune before the tune itself. While organ music gives a foundation for many of his compositional techniques, Ives’s willingness to extrapolate from the organ tradition makes him unique among modernist composers.

Works: Ives: Sonata No. 2 for Piano, Concord, Mass., 1840-60 (264), Four Transcriptions from “Emerson” (264), String Quartet No. 1 (290-92), Symphony No. 4 (290-92), Sonata No. 4 for Violin and Piano (292-93); Mendelssohn: Organ Sonata No. 1 in F Minor, Op. 65, No. 1 (304-6)

Sources: Ives: Emerson Overture for Piano and Orchestra (264); Lowell Mason: Missionary Hymn (290-92); Oliver Holden: Coronation (290-92); William Hovard Doane: Old, Old Story (292-93); Claudin de Sermisy: Was mein Gott will, das g’schel’ allzeit (304-6)

Index Classifications: 1800s, 1900s

Contributed by: Matthew Van Vleet

The use of existing music is one of the most characteristic facets of Charles Ives’s music. What has been broadly described as musical “quotation” is in fact fourteen distinct procedures that Ives uses: modeling, variations, paraphrasing, setting, cantus firmus, medley, quodlibet, stylistic allusion, transcribing, programmatic quotation, cumulative setting, collage, patchwork, and extended paraphrase. Analyzing Ives’s use of existing music through these procedures allows for a clearer understanding of Ives’s compositions, the discovery that most of these procedures can be traced back to existing practices in the European tradition, and the tracing of a logical development in Ives’s practice from common types of musical borrowing to highly individual methods. The development of Ives’s use of existing music largely corresponds to six periods in Ives’s career: youth (to 1894), apprenticeship (1894-1902), innovation and synthesis (1902-8), maturity (1908-18), last works (1918-27), and revising (1927-54).

In his early career, Ives, like countless other composers, often modeled compositions on existing works to learn from the masters and develop his own voice. At the same time, Ives honed his skills at paraphrasing existing melodies (particularly hymn tunes) for use in classical idioms. Ives’s First and Second Symphonies represent the height of his use of modeling and paraphrase; the First Symphony demonstrates Ives’s command of the symphonic tradition, and the Second demonstrates his ability to bend American vernacular material to fit the symphonic form, paraphrasing American tunes as themes and adapting transitional passages from European compositions. Between 1907 and 1920, the most common form in Ives’s concert music was cumulative setting, a distinctive form in which a borrowed or paraphrased theme is first heard in fragments, gradually accumulating until the entire theme is heard at the end of the movement, often with a countermelody that accumulates in a similar way. Cumulative setting is based on techniques that have precedents in various musical traditions. Ives’s synthesis of these ideas served several musical and extramusical functions, celebrating American melodies and hymn tunes in a new, thematically-driven form. In other mature compositions, Ives uses conventional borrowing techniques in novel ways, such as alluding to a style or genre (often through a specific piece) as a means of commenting on it. Two extensions of paraphrase technique—patchwork, in which a melody is stitched together from fragments of multiple tunes, and extended paraphrase, in which the main melody of an entire work is paraphrased from an existing tune—also became important compositional techniques for Ives. Programmatic quotation, in which a tune is explicitly quoted for a clear extramusical purpose, is uncommon is Ives’s music, but the technique is used in works where the program involves listening to a musical event. Among the most extraordinary uses of borrowed music in Ives’s works are his orchestral collages, which blend several compositional techniques (modeling, paraphrase, cumulative setting, programmatic quotation, and quodlibet) and many borrowed tunes to create a stream-of-consciousness effect representing the process of memory. By systematically analyzing Ives’s increasing use of borrowed music throughout his career, the prevailing “crazy-quilt” view of Ives’s borrowing—that old and new material are stitched together without discrimination—can be replaced by a more accurate assessment that Ives drew on traditional techniques and developed new ones to give expression to his American culture within his own musical language.

Works: Ives: Holiday Quickstep (14-16), Polonaise in C (17-20), Variations on “America” (21-22, 43-46), Turn Ye, Turn Ye (23-24), Ein Ton (25-27), Ich grolle nicht (27-31, 33-34), Feldeinsamkeit (27-28, 31-34), The Celestial Country (34-36), Fantasia on “Jerusalem the Golden” (38-41), March No. 1 in F and B-flat (41-43), String Quartet No. 1 (49-75, 86-87), The Side Show (76-79), Fugue in Four Keys on “The Shining Shore” (80-81, 162-64), Religion (82-83), Evening (83-84), String Quartet No. 2 (84-85, 348-50), Symphony No. 1 in D Minor (88-102), Symphony No. 2 (102-36), Symphony No. 3 (139-54, 238-40), Violin Sonata No. 3 (139, 142, 154-61, 166, 174-78, 206-12, 243), The Camp-Meeting (149-50), Violin Sonata No. 1 (163-72, 201-6, 241-42, 250), Violin Sonata No. 2 (165, 170-74, 197, 200, 242, 315-16), Violin Sonata No. 4 (167-68, 177-84, 189, 193-94), Thanksgiving and Forefathers’ Day from Holidays Symphony (168-69, 185-86), His Exaltation (174), Piano Sonata No. 1 (187-93, 212-14, 243-44, 248-49), At the River (193-94), Adagio cantabile (The Innate) (194-95, 196), Piano Sonata No. 2, Concord, Mass., 1840-1860 (195-200, 350-57), Ragtime Dances (212-14), The Rockstrewn Hills Join in the People’s Outdoor Meeting from Orchestral Set No. 2 (214), “Pre-First” Violin Sonata (236-38), General William Booth Enters into Heaven (253-62), From Hanover Square North, at the End of a Tragic Day, the Voice of the People Again Arose from Orchestral Set No. 2 (262-66), Waltz (268-70), Grantchester (277-78), On the Counter (278-80), The One Way (279-80), Serenity (281-86), The Rainbow (287-89), The White Gulls (291-94), The Last Reader (301-5), The Things Our Fathers Loved (306-11), Old Home Day (311-12), Lincoln, the Great Commoner (312), In Flanders Fields (313), He Is There! (313-15), An Elegy to Our Forefathers from Orchestral Set No. 2 (316-17), The “St.-Gaudens” in Boston Common (Col. Shaw and his Colored Regiment) from Three Places in New England (317-22), The Housatonic at Stockbridge from Three Places in New England (327-30), Down East (330-33), West London (333-39), Yale-Princeton Football Game (342-43), Calcium Light Night (343), The Gong on the Hook and Ladder (343), The General Slocum (343-44), Central Park in the Dark (344-45), Decoration Day from Holidays Symphony (345-46), The Celestial Railroad (357-60), The Pond (Remembrance) (360-63), Requiem (363), Tom Sails Away (363-64), Trio for Violin, Cello, and Piano (373-74), The Fourth of July from Holidays Symphony (376-82), Washington’s Birthday from Holidays Symphony (383-85), Putnam’s Camp from Three Places in New England (386-89), Country Band March (386-87), Overture and March “1776” (387-89), Symphony No. 4 (389-411); George M. Cohan: The Yankee Doodle Boy (322-24, 325-26)

Sources: David W. Reeves: Second Regiment Connecticut National Guard March (14-16, 346, 373-74); Donizetti: Lucia di Lammermoor (17-20); Johann Christian Heinrich Rinck: Variations on “God Save the King” (21-22); Josiah Hopkins: Expostulation (23-24); Peter Cornelius: Ein Ton (25-27); Robert Schumann: Dichterliebe, Op. 48 (27-31, 33-34); Brahms: Feldeinsamkeit (27-28, 31-34), Symphony No. 1 in C Minor, Op. 68 (126-30, 132-33), Symphony No. 3 in F Major, Op. 90 (127), Vier ernste Gesänge (128), Symphony No. 2 in D Major, Op. 73 (349); Horatio Parker: Hora novissima (34-36); Alexander Ewing: Jerusalem the Golden (38-41); Anonymous: The Year of Jubilee (41-43); Attributed to John Bull (composer), Samuel Francis Smith (lyricist): America (43-46, 312-13); Attributed to Asahel Nettleton or John Wyeth: Nettleton (50-52, 61-70, 73-74, 86-87, 105-7, 115, 194-95, 196, 197, 200, 306-11, 349-50, 390-92, 392-401, 402-10); John R. Sweney: Beulah Land (52-55, 61-70, 73-74, 86-87, 99-101, 111-14, 207-12, 392-401); George J. Webb: Webb (55-57, 73-74); Oliver Holden: Coronation (55-57, 71-74, 402); George F. Root: Shining Shore (56-70, 73-74, 80-83, 86-87, 99-101, 162-63, 164-65, 168-69, 170-72, 185-86, 291-94), Tramp, Tramp, Tramp (236, 241-42, 250, 314, 359-60, 377-82, 386-89, 392-401), The Battle Cry of Freedom (236, 306-11, 313, 314, 315-16, 317-22, 377-82, 386-89), There’s Music in the Air (239); Lowell Mason: Missionary Hymn (71-74, 402), Bethany (81-85, 301-5, 330-33, 349-50, 390-92, 402-10), Watchman (201-6, 301-5, 390-92), Work Song (202-3, 205-6); J. S. Bach: Toccata and Fugue in D Minor (“Dorian”) BWV 538 (71, 402), Three-Part Invention in F Minor BWV 795 (126-27), Fugue in E Minor from The Well-Tempered Clavier, Book 1 (128-30); Pat Rooney: Is That You, Mr. Riley? (76-79); Tchaikovsky: Symphony No. 6 in B Minor, Op. 74, Pathétique (76-79, 95-97, 101-2, 349), Symphony No. 4 in F Minor, Op. 36 (130-31); C. G. Gläser, Lowell Mason (arranger): Azmon (80-83, 140-41, 143-46, 151-54, 162-64, 240, 404, 408); Dvořák: Symphony No. 9 in E Minor, From the New World (89-95, 101-2, 130-31); Beethoven: Symphony No. 9 in D Minor, Op. 125 (97-98, 101-2, 349), Symphony No. 5 in C Minor, Op. 67 (195-200, 350-60), Piano Sonata No. 29 in B-flat Major, Op. 106, Hammerklavier (195-200, 350-60); Schubert: Symphony No. 8 in B Minor, D. 759, Unfinished (98-99, 101-2); Stephen Foster: Massa’s in de Cold Ground (104-7, 115, 122-24, 316-22, 357, 383-85, 386-89, 392-401), De Camptown Races (115-22, 359-60, 383-85, 392-401), Old Black Joe (122-24, 316-22, 359-60, 392-401), My Old Kentucky Home (306-11, 373-74, 386-89), Old Folks at Home (383-85); Anonymous: Pig Town Fling (107-8, 373-74, 383-85, 392-401); David T. Shaw (or Thomas A’Becket): Columbia, the Gem of the Ocean (108, 116-24, 312, 313, 314, 348-49, 355, 359, 364, 376-82, 386-89, 392-401); Henry Clay Work: Wake Nicodemus (108-9), Marching Through Georgia (312-14, 317-22, 345, 348-49, 359-60, 373-74, 377-82, 386-89, 392-401), Kingdom Coming (377-82); George A. Minor: Bringing in the Sheaves (109-10, 213-14, 243-44); David Walker (composer), Anonymous (lyricist): Where, O Where Are the Verdant Freshmen? (110-11); Gregorian chant, Lowell Mason (arranger): Hamburg (110-11); Johann G. Naegeli, Lowell Mason (arranger): Naomi (110, 238-40); Samuel A. Ward: Materna (112-15); Charles Zeuner: Missionary Chant (115, 123, 195-200, 402-10); Thomas Haynes Bayly: Long, Long Ago (120, 373-74, 392-401); George Washington Dixon or Bob Farrell: Turkey in the Straw (121-24, 315, 348-49, 383-85, 392-401); Handel, Lowell Mason (arranger): Antioch (123-24, 402, 402-10); Anonymous (bugle calls): Reveille (124, 257, 312-13, 314, 377-82, 392-401), Assembly (312, 377-82), Taps (313, 345-46, 360-63); Wagner: Tristan und Isolde (127); William Bradbury: Woodworth (140-41, 143-51, 153, 240), Jesus Loves Me (168, 181-84, 316-17); Charles Converse: Erie (141, 151-54, 188-89, 192-93, 239-40); Robert Lowry: Need (142, 154-61, 207-12, 243), The Beautiful River (166, 174-77, 189, 193-94, 195, 196, 392-401), Where Is My Wandering Boy? (249); François-Hippolyte Barthélémon: Autumn (165, 170-74, 237); Ira D. Sankey: There’ll Be No Dark Valley (166, 174-78); William H. Doane: Old, Old Story (167, 178-81); George E. Ives: Fourth Fugue in B-flat (167, 178-81); John Hatton: Duke Street (168-69, 185-86); Henry K. Oliver: Federal Street (168-69, 185-86); George Kiallmark: The Old Oaken Bucket (170, 236, 241-42, 250, 363-64); John Zundel: Lebanon (187-92, 244, 249); Charles Zeuner: Missionary Chant (195-200, 402-10); Simeon B. Marsh: Martyn (195-200, 355-56, 358-60, 392-401, 402-10); Anonymous: Happy Day (213-14, 243-44); Lewis Hartsough: Welcome Voice (213-14, 243-44, 402); William G. Tomer: God Be With You (236, 359-60, 392-401); Walter Kittredge: Tenting on the Old Camp Ground (236, 313-14); Anonymous: Sailor’s Hornpipe (236, 315, 373-74, 377-82, 383-85); Anonymous: Money Musk (236, 315, 383-85); Anonymous: The White Cockade (236, 315-16, 377-82, 383-85); Anonymous, Lowell Mason (arranger): Fountain (238-40, 254-62, 333-39, 373-74); Andrew Young, Lowell Mason (arranger): There Is a Happy Land (238-40, 392-401, 402-10); James P. Webster: In the Sweet Bye and Bye (262-66, 306-11, 373-74, 390, 392-401); Michael Nolan: Little Annie Rooney (268-70); Debussy: Prélude à “L’après-midi d’un faune” (277-78); Ives: A Song—for Anything (278-80), Country Band March (313, 355, 359-60, 386-87, 392-401), Piano Sonata No. 2, Concord Mass., 1840-1860 (357-58, 392-402), Old Home Day (377-82), Overture and March “1776” (387-89), Violin Sonata No. 1 (390-92), The Celestial Railroad (392-401), String Quartet No. 1 (402), String Quartet No. 2 (406); Oley Speaks: On the Road to Mandalay (279-80); William V. Wallace: Serenity (282-86, 288-89); Ludwig Spohr: Cherith (301-5); Henry W. Greatorex: Manoah (301-5); Alexander R. Reinagle: St. Peter (301-5); Paul Dresser: On the Banks of the Wabash, Far Away (306-11); William Steffe (composer), Julia Ward Howe (lyricist): Battle Hymn of the Republic (311-12, 312, 314, 377-82, 386-89); H. S. Thompson: Annie Lisle (311-12); Anonymous: Arkansas Traveler (311-12, 386-89); Anonymous: The Girl I Left Behind Me (311-12, 377-82, 386-89); Anonymous: Garryowen (311-12, 377-82, 383-85, 392-401); Anonymous: Saint Patrick’s Day (311-12, 373-74, 377-82, 385, 392-401); Anonymous: Auld Lang Syne (311-12); Philip Phile: Hail! Columbia (312, 348-49, 377-82, 386-89, 392-401); John Stafford Smith (composer), Francis Scott Key (lyricist): The Star-Spangled Banner (312, 314, 386-89); Claude Joseph Rouget de Lisle: La Marseillaise (313, 314); Henry S. Cutler: All Saints New (313); George M. Cohan: Over There (314, 364); Dan Emmet: Dixie (314, 348-49, 373-74, 377-82); Anonymous: Yankee Doodle (314, 377-82, 386-89, 392-401); James Ryder Randall: Maryland, My Maryland (314); Isaac B. Woodbury: Dorrnance (327-30, 402-10); Nelson Kneass: Ben Bolt (344); Ellen Wright: Violets (344); Joseph E. Howard: Hello! Ma Baby (344); John Philip Sousa: Washington Post March (344, 392-401), Semper Fidelis (386-89); William Crotch: Westminster Chimes (349-50, 390-92, 392-401, 402-10); Edward S. Ufford: Throw Out the Life-Line (359-60, 392-401); Frederick Crouch: Kathleen Mavourneen (361-63); Handel, Anonymous (arranger): David (361-63), Christmas (402); Mendelssohn, Anonymous (arranger): Hexham (361-63); William G. Harris (arranger): A Band of Brothers in DKE (373-74); George Morris: Few Days (373-74); Anonymous: The Worms Crawl In (373-74); Anonymous: That Old Cabin Home Upon the Hill (373-74); Anonymous: The Campbells Are Coming (373-74, 383-85); Henry J. Sayers: Ta-ra-ra Boom-de-ay! (373-74); Anonymous: Hold the Fort, McClung in Coming (373-74); William Gooch: Reuben and Rachel (373-74); Anonymous: Fisher’s Hornpipe (377-82, 383-85); Anonymous: London Bridge (377-82, 386-89); Anonymous: Katy Darling (377-82); Henry R. Bishop: Home! Sweet Home! (383-85, 392-401); Edwin P. Christy: Goodnight, Ladies (383-85); Anonymous: For He’s a Jolly Good Fellow (383-85); Anonymous: Irish Washerwoman (383-85, 392-401); Anonymous: The British Grenadiers (386-89); Theodore E. Perkins: Something for Thee (391-401, 402-10); Arthur Sullivan: Proprior Deo (391-92, 402-10); Anonymous: Crusader’s Hymn (391-92); Justin Heinrich Knecht, Edward Husband (arranger): St. Hilda (402-10)

Index Classifications: 1800s, 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1800s, 1900s

Charles Ives’s extraordinarily diverse musical output can seem daunting, but by studying the historical and artistic context surrounding his compositions, listeners can gain an appreciation for and better understanding of Ives’s music. One of the most salient features of Ives’s music is its variety. In his collection 114 Songs, Ives apparently hoped that everyone could find something to like in it, and even sampling just a few of the songs demonstrates its breadth of musical style. During his youth, Ives encountered the four musical traditions that would shape his compositional career: popular music, Protestant church music, European classical music, and experimental music. As Ives studied under Horatio Parker at Yale, he based several compositions (including his First Symphony) on European classical models. Starting with his First String Quartet, Ives began incorporating American tunes into European forms, and in his Second Symphony he completely integrates European and American music. With his Third Symphony and four violin sonatas, Ives developed cumulative form, a new form in which fragments of a borrowed tune (in these pieces, a hymn) are developed before the complete tune is heard at the end of the movement. Around the same time, he began to compose the four movements of A Symphony: New England Holidays, which celebrate American holidays through music associated with them and evoke memory through musical collage. Ives’s two Orchestral Sets use similar procedures to evoke American historical events, and, like the Holidays Symphony, combine elements of popular music, Protestant church music, European classical music, and experimental music. One of Ives’s best-known pieces, his Concord Sonata, conveys his impressions of four American Transcendentalist writers. In his Second String Quartet and his Fourth Symphony, Ives conveys two similar transcendent journeys, both culminating in the hymn tune Bethany (“Nearer, my God, to Thee”). In 1922, Ives self-published 114 Songs, a collection of old and new songs that, along with the Concord Sonata, brought him to the attention of the classical music community. It was not until after Ives stopped composing new music in 1926 that he began to be recognized as a major American composer.

Works: Ives: Down East (20-21), General William Booth Enters into Heaven (21-24), Holiday Quickstep (32-35), Variations on “America” (39-43), Feldeinsamkeit (58-61, 63), Ich grolle nicht (58-60, 61-63), Symphony No. 1 in D Minor (63, 65, 69-71), The Celestial Country (81-82), String Quartet No. 1 (82-89), Yale-Princeton Football Game (93-96), Central Park in the Dark (117-19), Symphony No. 2 (125-44), Symphony No. 3: The Camp Meeting (149-58), Sonata No. 4 for Violin and Piano: Children’s Day at the Camp Meeting (158-63), Sonata No. 3 for Violin and Piano (158-60, 163-66), Sonata No. 2 for Violin and Piano (158-60, 166-67), Sonata No. 1 for Violin and Piano (158-60, 167-68), Washington’s Birthday from A Symphony: New England Holidays (173-81), Decoration Day from A Symphony: New England Holidays (173-76, 181-85), The Fourth of July from A Symphony: New England Holidays (173-76, 185-90), Thanksgiving and Forefathers’ Day from A Symphony: New England Holidays (173-76, 190-93), Orchestral Set No. 1: Three Places in New England (195-209), Orchestral Set No. 2 (210-15), Piano Sonata No. 2: Concord, Mass., 1840-1860 (217-42), String Quartet No. 2 (249-56), Symphony No. 4 (257-68), On the Counter (273), Watchman! (273-74), At the River (273-74), His Exaltation (273-74), The Camp-Meeting (274, 275-76), Slow March (274-75), In Flanders Fields (276), He Is There! (276-77), Tom Sails Away (277), The Greatest Man (278), The White Gulls (278-79), Evening (278), The One Way (282), Three Quarter-Tone Pieces (282-83)

Sources: Lowell Mason: Bethany (20-21, 184-85, 249, 254-56, 258, 259-61, 266-68, 279), Missionary Hymn (84-85, 257, 265-66), Work Song (168), Watchman (168, 257, 260-61, 273-74); James A. Bland: Golden Slippers (23); Anonymous, Lowell Mason (arranger): Fountain (23-24, 154-55); David Wallis Reeves: Second Regiment Connecticut National Guard March (34, 95, 183-85); Attributed to John Bull (composer), Samuel Francis Smith (lyricist): America (39-43, 276, 283); Brahms: Feldeinsamkeit (59-61), Symphony No. 1 in C Minor, Op. 68 (132, 134, 136, 138), Symphony No. 3 in F Major, Op. 90 (133), Vier ernste Gesänge (136), Symphony No. 2 in D Major, Op. 73 (254); Robert Schumann: Ich grolle nicht from Dichterliebe (61-63); Dvořák: Symphony No. 9 in E Minor, From the New World (63, 65, 69-70); Tchaikovsky: Symphony No. 6 in B Minor, Pathétique (63, 70, 254); Beethoven: Symphony No. 9 in D Minor, Op. 125 (63, 65, 70, 254), Symphony No. 5 in C Minor, Op. 67 (223-28, 230, 232-34, 236, 241), Piano Sonata in B-flat Major, Op. 106, Hammerklavier (224-28, 241); Schubert: Symphony No. 8, D. 759, Unfinished (63, 70); George F. Root: Shining Shore (70-71, 86-87, 89, 167-68, 191-93), The Battle Cry of Freedom (166-67, 168, 184, 188, 201-2, 205, 276-77, 283), Tramp, Tramp, Tramp (168, 188, 262-63, 276-77); John R. Sweney: Beulah Land (70-71, 86-87, 89, 134-35, 163-64, 262-64); Anonymous (bugle calls): Taps (71, 183-85), Reveille (138, 188, 276); David T. Shaw (or Thomas A’Becket): Columbia, the Gem of the Ocean (71, 132, 136, 138, 144, 186-89, 237, 253, 254, 263, 276-77); Horatio Parker: Hora novissima (81-82); J. S. Bach: Toccata and Fugue in D Minor (“Dorian”) BWV 538 (85), Prelude in B Minor BWV 869 from The Well-Tempered Clavier, Book 1 (131), Three-Part Invention in F Minor BWV 795 (132, 136), Fugue in E Minor BWV 855 from The Well-Tempered Clavier, Book 1 (137-38); Oliver Holden: Coronation (85, 87-88, 89); Asahel Nettleton or John Wyeth: Nettleton (87, 135, 167, 210, 254, 262-63); George J. Webb: Webb (88); Karl Langlotz (composer), Harlan Page Peck (lyricist): Old Nassau (94-95); Anonymous: Hy-Can Nuck a No (94-95); Anonymous: Harvard Has Blue Stocking Girls (94-95); Carl Wilhelm (composer), Anonymous (lyricist): Bright College Years (Dear Old Yale) (95); Philip Bliss (composer), Anonymous (lyricist): Hold the Fort, McClung Is Coming (95); Nelson Kneass: Ben Bolt (118); Ellen Wright: Violets (118-19); Joseph E. Howard: Hello! Ma Baby (118); Anonymous: The Campbells Are Coming (118-19, 178-79); John Philip Sousa: Washington Post March (119), Semper Fidelis (204-5), Liberty Bell March (204-5); Stephen Foster: Massa’s in de Cold Ground (131-32, 135, 137-38, 141-43, 178-79, 201-2, 205, 210, 214, 240-41, 254), De Camptown Races (136-37, 178, 263, 264), Old Black Joe (137-38, 142-43, 201-2, 210), Old Folks at Home (177-78, 180); Anonymous: Pig Town Fling (131-32, 137-38, 179); Henry Clay Work: Wake Nicodemus (132-34, 142), Marching Through Georgia (184, 187-89, 201-2, 205-6, 253, 254, 262, 264, 276-77); George A. Minor: Bringing in the Sheaves (133-34, 168, 210); David Walker (composer), Anonymous (lyricist): Where, O Where Are the Verdant Freshmen? (133-34); Gregorian chant, Lowell Mason (arranger): Hamburg (133-34); Johann G. Naegeli, Lowell Mason (arranger): Naomi (133-34, 154-55); Samuel A. Ward: Materna (134-35); Wagner: Tristan und Isolde (135), Lohengrin (227); Charles Zeuner: Missionary Chant (135, 224-28, 266-67); George Washington Dixon or Bob Farrell: Turkey in the Straw (137-38, 166-67, 178-79, 253, 264); Carl Gotthelf Glaser, Lowell Mason (arranger): Azmon (153-54, 156-57, 267); Charles Converse: Erie (153-54); William B. Bradbury: Woodworth (154, 156-57, 274, 275-76), Jesus Loves Me (161-62, 210); Andrew Young, Lowell Mason (arranger): There Is a Happy Land (155); William H. Doane: Old, Old Story (161); Robert Lowry: The Beautiful River (162, 164-65, 273-74), Need (163-66); Ira Sankey: There’ll Be No Dark Valley (164-65); François-Hippolyte Barthélémon: Autumn (166, 273-74); Anonymous: College Hornpipe (Sailor’s Hornpipe) (166-67, 178, 188); Anonymous: Money Musk (166-67, 178-79); Anonymous: The White Cockade (166-67, 178, 188); George Kiallmark: The Old Oaken Bucket (168, 277); Henry R. Bishop: Home! Sweet Home! (177-78, 180); Anonymous: For He’s a Jolly Good Fellow (178); Anonymous: Fisher’s Hornpipe (178-79, 188); Anonymous: Irish Washerwoman (178-79, 188); Anonymous: Garryowen (178-79, 188); Anonymous: Saint Patrick’s Day (178-79, 188); Edwin P. Christy: Goodnight, Ladies (179, 180); John Francis Wade: Adeste fideles (183-85); Walter Kittredge: Tenting on the Old Camp Ground (184, 276-77); William Steffe (composer), Julia Ward Howe (lyricist): Battle Hymn of the Republic (184-85, 187-89); Philip Phile (composer), Joseph Hopkinson (lyricist): Hail! Columbia (188, 205, 253, 254, 263); Anonymous: The Girl I Left Behind Me (188); Anonymous: London Bridge (188); John Hatton: Duke Street (191-93); Henry K. Oliver: Federal Street (191-93); Anonymous: The British Grenadiers (203-6); Ives: Overture and March “1776” (203-4), Country Band March (203-4, 236, 264, 276), Ragtime Dances (210, 283), Emerson Overture (218, 228-29), Orchestral Set No. 1: Three Places in New England (236, 264, 276), Sonata No. 1 for Violin and Piano (257, 273-74), The Celestial Railroad (257, 258), Piano Sonata No. 2: Concord, Mass., 1840-1860 (257, 258, 263), String Quartet No. 1 (257, 265-66), String Quartet No. 2 (257, 267), A Song—for Anything (273), Sonata No. 4 for Violin and Piano (273-74), Sonata No. 2 for Violin and Piano (273-74), Symphony No. 3: The Camp Meeting (274, 275-76); Anonymous: Arkansas Traveler (205); Anonymous: Yankee Doodle (205, 264); John Stafford Smith (composer), Francis Scott Key (lyricist): The Star-Spangled Banner (206, 276); Isaac B. Woodbury: Dorrnance (207-9, 266-67); Edward S. Ufford: Throw Out the Life-Line (210, 262, 263); Anonymous: Happy Day (210); Lewis Hartsough: Welcome Voice (210, 266); James P. Webster: In the Sweet By-and-By (211-14, 260, 262-63); Simeon B. Marsh: Martyn (224, 236-7, 262, 263-64, 267); Anonymous: Loch Lomond (227); A. F. Winnemore: Stop That Knocking at My Door (227); Dan Emmet: Dixie (253, 276-77); William Crotch: Westminster Chimes (255-56, 260, 266-67); William G. Tomer: God Be With You (262); Handel, Lowell Mason (arranger): Antioch (Joy to the World) (266); Handel: Saul (274-75); Claude Joseph Rouget de Lisle: La Marseillaise (276, 283); Anonymous (composer), James Ryder Randall (lyricist): Maryland, My Maryland (276-77); George M. Cohan: Over There (277); Oley Speaks: On the Road to Mandalay (282)

Index Classifications: 1800s, 1900s

Contributed by: Matthew Van Vleet

Analysis of visual and musical elements of Michael Jackson's video for his song Black or White reveals it as a series of intertextual references that generate meaning through allusions to aspects of popular culture. Intertextuality is defined according to Gerard Genette's theories of transtextuality and therefore is taken to be a relationship between "two or more texts existing or showing their presence within a work," including quotation, plagiarism, and allusion as types of intertextuality. In every scene of the video, intertextual references can be found, including the use of quintessential heavy metal guitar and drum sounds, cinematic allusions to Hitchcock and the film Raising Arizona, evocation of the militant political groups the Black Panthers as Jackson morphs into a panther, a rhythmic reference to Buddy Rich drum solos, and the inclusion of a brief section of rap.

Works: Bill Botrell and Michael Jackson: Black or White.

Index Classifications: 1900s, Popular

Contributed by: Sarah Florini

Billie Holiday was quoted as saying that she wanted the “feeling” of Bessie Smith with the “style” of Louis Armstrong. Two Holiday songs, Tain’t Nobody’s Biz-ness if I Do and I Gotta Right to Sing the Blues, serve as clear homages respectively to Smith and Armstrong, each of whom recorded the songs well before Holiday. Both the style and feeling are identifiable by three vocal metrics: quality (dynamics/intensity), space (range/range-based timbre), and articulation (enunciation/rhythmic emphasis). Detailed transcriptions of the Smith, Armstrong, and Holiday recordings of these song, including dynamics, bending of pitches, and rhythmic manipulation show not only that Holiday was strongly influenced by her predecessors, but also that elements of vocal quality, space, and articulation that Holiday actively wanted to emulate appear in her performances of these songs.

Works: Porter Grainger and Everett Robbins (composers) and Billie Holiday (performer): Tain’t Nobody’s Biz-ness if I Do; Harold Arlen and Ted Koehler (composers) and Billie Holiday (performer): I Gotta Right to Sing the Blues.

Sources: Porter Grainger and Everett Robbins (composers) and Bessie Smith (performer): Tain’t Nobody’s Biz-ness if I Do; Harold Arlen and Ted Koehler (composers) and Louis Armstrong (performer): I Gotta Right to Sing the Blues.

Index Classifications: 1900s, Jazz

Contributed by: Nathan Blustein

Artistic authenticity is a central concern in the genre of rock music. "Covering" previously recorded songs directly involves rock and popular bands' rendering of a cover song as either authentic or artificial (inauthentic). Two cover songs by the Pet Shop Boys exemplify two opposing notions of authenticity. Their cover of U2's Where the Streets Have No Name casts the original version as artificial, as the Pet Shop Boys ignore the original song's emphasis on individuality, undermine the structural importance of motivic elements, recast the song in a quasi-disco style, and make other significant musical changes. On the other hand, the Pet Shop Boys' version of Go West heightens the authenticity of the Village People's version. The song evokes the climate of "1970s urban gay culture," with an emphasis on community and the freedom to be liberated by going west. The Pet Shop Boys' cover not only recaptures the Village People's message, placing it in its 1970s pre-AIDS culture, but also uses musical devices to also evoke the song's new context in an post-AIDS culture. For example, the interaction among the musicians seems more formally restrained, which resembles the heightened sense of caution members of the gay community must take in an AIDS-stricken world. Ultimately, the Pet Shop Boys' Go West celebrates the history of gay culture and casts the Village People's version as authentic.

Works: Bono (Paul Hewson) and U2: Where the Streets Have No Name as performed by the Pet Shop Boys (4-7); Henri Belolo, Jacques Morali, and Victor Willis: Go West as performed by the Pet Shop Boys (7-15).

Sources: Bono (Paul Hewson) and U2: Where the Streets Have No Name (2-6); Bob Crewe and Bob Gaudio: Can't Take My Eyes Off You as performed by Frankie Valli and by Boystown Gang (5-6); Henri Belolo, Jacques Morali, and Victor Willis: Go West (7-12); Pachelbel: Canon in D (13).

Index Classifications: 1900s, Popular

Contributed by: Victoria Malawey

The popularity of the cake walk in early-twentieth-century Paris introduces complex layers of cultural signifiers and meaning both within and outside of constructions of race. The Parisian public was introduced to cake walks in 1900 by Sousa’s band, whose aura of civility and control challenges the dance’s assumed primitivism in current scholarship. The physical, spectacular, and participatory nature of the cake walk dance as described in the 1900s French press further runs counter to the expectations of a solely primitivist understanding. Filmmaker Georges Méliès’s combination of cake walk with early film splicing technique (as in his 1903 Le Cake Walk Infernal) adds an uncanny association to Parisian cake walks. Debussy’s quotation of Tristan und Isolde in Golliwogg’s Cake Walk is typically understood as a lighthearted critique of Wagner and Wagnerism. Lawrence Kramer reads these inclusions as quotations of absence—the harmonic substance of the Tristan chord is stripped away and rendered trite. However, a more nuanced reading of this quotation comes from taking seriously the irony inherent in the cakewalk genre: black plantation slaves parodying the mannerisms of their white masters. The theatricality and excess in Debussy’s score can further be identified with the modernist fixation on clowns. This interpretation takes into account the complexity of cultural signifiers in the cake walk genre and its appropriation in modern Paris.

Works: Debussy: Golliwogg’s Cake Walk, from Children’s Corner (288-89, 308-11)

Sources: Wagner: Tristan und Isolde (288-89, 308-11)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1800s, 1900s

Index Classifications: 1900s

Satie’s score for Parade is regarded as an important work of early avant-garde modernism, reflecting a collaborative artistic endeavor involving Cocteau, Picasso, Diaghilev, Massine, and Satie, and helping to spawn the development of minimalism. This work attracted considerable attention in Paris, and its appropriation of cinema and jazz into the musical fabric of the work demonstrates Satie’s fascination with American culture. The “Ragtime du Paquebot” at the end of the second movement demonstrates rhythmic modeling from Irving Berlin’s 1912 popular song That Mysterious Rag. This intentional imitative gesture invited complaints of plagiarism. Other instances of Satie’s thematic borrowings are observed his melodic and orchestral quotations of Stravinsky and Debussy in the cabaret tunes and circus music themes in the third movement, “Acrobates.” These borrowing attempts, however, are mocking in nature. All the artists involved in this collaboration characteristically adopted a creatively defiant stance against tradition and convention. Satie rejected the adherence to a defined school of artistic or aesthetic thought, and his style of modern simplicity pervades the entire work. In spite of many criticisms, Parade was lauded for its stylistic innovation and departure from traditional forms and conventions. It is viewed as the culmination of avant-garde artistic expression and demonstrated a modernistic approach to creativity.

Works: Satie: Parade.

Sources: Irving Berlin: That Mysterious Rag (12).

Index Classifications: 1900s

Contributed by: Jingyi Zhang

Merce Cunningham’s early choreography, particularly his collaborations with John Cage and fascination with the music of Erik Satie, demonstrates an interdependence of life and work as well as a marriage between music and dance that are fundamental to understanding his modernist divorce of choreography from music and narrative. The first Cage-Cunningham collaboration, Credo in Us (1942), reflects Cage’s unhappy marriage and blames the bourgeois conventions of American society and their insistence on maintaining the appearance of a happy heterosexual marriage. Cage’s score suggests this with a dismissive call for bourgeois favorites “Beethoven, Sibelius, Shostakovich, or whatever” to be played on a phonograph. Other early Cunningham choreographies, including Cage collaboration Four Walls and his Revivalist solo for Appalachian Spring, also deal with themes of marriage and exhibit clear relationships between dance and music. As Cunningham’s choreography began to meaningfully diverge from its accompanying music, his settings of Satie’s music and collaborations with Cage—for example, Idyllic Song (1944) choreographed to Satie’s Socrate—were still thematically “married” to the music and linked to Cunningham’s erotic dance. When Cage and Cunningham worked to choreograph the remainder of Socrate in 1969 as Second Hand, Satie’s publisher refused performance rights for Cage’s arrangement. Instead, Cage composed a derivative work, Cheap Imitation, that preserved the meter, rhythms, and at times intervallic distance of Socrate while transposing the pitches by consulting the I Ching. The new score was not entirely generated by this procedure, however, as there are clear instances of Cage composing in musical cues for Cunningham’s dance. This relationship between dance and music is clearly different from other Cunningham works such as Split Sides (2003), produced after Cage’s death, in which the dance is entirely independent from the music. Although Cage and Cunningham remained for the most part silent about their sexuality and relationship, analyzing the formal structures of their professional collaborations in light of their personal relationship helps to reveal a fuller understanding of the couple’s life and work.

Works: John Cage (composer) and Merce Cunningham (choreographer): Credo in Us (448-51), Idyllic Song (456, 484-90), Second Hand (496-508); John Cage: Cheap Imitation (496-508); Merce Cunningham (choreographer): Septet (490-94), Split Sides (509-11)

Sources: Erik Satie: Socrate (456, 484-508), Trois morceaux en forme de poire (490-94); Sigur Rós: ba ba ti ki di do (509-11); Radiohead (Colin Greenwood, Jonny Greenwood, Ed O’Brian, Philip Selway, Thom Yorke): Untitled (509-11)

Index Classifications: 1900s, 2000s

Contributed by: Matthew Van Vleet

Index Classifications: 1800s, 1900s

Although Ives's writings discuss concepts of sardonic wit in composition, his songs reveal a wide range of expression of humor, which became more complex over the course of his career. His humorous compositions can be categorized into at least four categories: parody, whimsical reminiscence, philosophical humor, and exaggerated insignificance. Ives's techniques of humor often do not rely on musical borrowing, but rather from outlandish performance directions, general stylistic allusions, or incongruous juxtapositions of styles. Nonetheless, musical borrowing can contribute to the humor.

Works: Ives: The Side Show (125, 129-31).

Index Classifications: 1800s, 1900s

Contributed by: Virginia Whealton

The exclusive right of the artist to the benefits that accrue from his or her intellectual property is a characteristic of modern culture. Borrowing is a common phenomenon, and exists in three types: (1) self-borrowing, or use of themes from one piece in another; (2) borrowing which is done as an obvious tribute or burlesque of the original, and (3) unacknowledged borrowing. Modern sensitivities consider this latter type of borrowing to be outright theft. The eighteenth century acknowledged but did not condemn this type of borrowing.

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

Contributed by: Felix Cox

As a well-constructed song, Cole Porter's What Is This Thing Called Love? became a popular source tune for jazz musicians. James P. Johnson's 1930 recording displays stride and boogie-woogie patterns, and only slightly modifies the chord progression. More drastic alterations are exhibited by Clifford Brown and Sonny Rollins in their 1956 recording with the Max Roach Quartet. In this case, the tune was highly ornamented and expanded, non chord-tones were emphasized during solos, and the tempo was twice as fast as prior versions. Brief analyses of treatments by Sidney Bechet, James "Bubber" Miley, Ella Fitzgerald, John Hardee, Bill Evans, Marian MacPartland, and Thad Jones attest to the variety of ways in which jazz musicians developed different perspectives on What Is This Thing Called Love?

Works: Porter: What Is This Thing Called Love?

Index Classifications: 1900s, Jazz

Contributed by: Eytan Uslan

Index Classifications: 1800s, 1900s

Index Classifications: 1900s

Peter Maxwell Davies consistently demonstrates an interest in the medieval and Renaissance periods in his compositional output. He begins with material borrowed from works in these periods and through his treatment of that material creates symbolic effects of powerful meaning. In addition to borrowing, Davies also utilizes parody as a compositional device, creating a commentary on the past and the present. In compositions such as Alma Redemptoris Mater and Fantasia on an In Nomine of John Taverner Nos. 1 and 2, the borrowed material is built into the structural framework of the work and therefore is less audible. Shakespeare Music uses the same technique, but fragmentary allusions to the models are occasionally allowed to come through the texture. Parody is employed in the Purcell realizations Fantasia and Two Grounds and Two Pavans,Taverner, and Antechrist. In these compositions borrowed material is used more extensively and can be heard in surface details.

Works: Davies: Fantasia and Two Grounds (12), Two Pavans (12), Taverner (12), Ecce manus tradentis (13), Antechrist (13), Shakespeare Music (13), L'homme armé (14), Revelation and Fall (14), Songs for a Mad King (14), Worldes Blis (14), St. Thomas Wake (15).

Sources: Davies: O Magnum Mysterium (12); Anonymous: Deo confitemini Domini (13); Bull: Pavan (15).

Index Classifications: 1900s

Contributed by: Christopher Holmes

Understanding Ives's use of borrowed materials demands that one first verify that seemingly quoted materials are in fact there, and from what source they derive. Judgments are difficult to make in many cases because it is impossible to be familiar with all of the music Ives knew. Then the material should be classified according to its structural importance. Some of Ives's quotations are brief and structurally insignificant, others are structurally important within a single movement, and still others serve as unifying factors among movements. Given that many of the tunes Ives used have more than one text, the approach seeking extra-musical "reasons" that Ives quoted one tune or another is less serviceable than the preceding.

Index Classifications: 1900s

Contributed by: Rob Lamborn

The "suture effect," adapted from psychoanalytic theory by Jean-Pierre Oudart, identifies the relationship of the spectator to the chain of signifying images, while also accounting for the subject's connection with the film score. Once becoming aware of the absence of vital information presented visually, the spectator unconsciously closes the gap between the seen and unseen, simultaneously sealing the spectator within the film. Music serves as an off-screen signifier, replacing the absence of corresponding affect, and the spectator is freed to claim the imaged emotion as his own. The film score permits the spectator to impart human depth to the flatness of photographed images by using programmatic music or music which carries off-screen meaning. Hugo Friedhofer's 1946 score for The Best Years of Our Lives draws stylistically from neo-classicism in its employment of numerous leitmotifs; the opening notes of the theme suggest somber memories of war, corresponding directly to the opening intervals of "Taps." Hoagy Carmichael's "Among My Souvenirs" is borrowed as a sentimental relic from the popular songs of the 1930s, as well as "Up a Lazy River" and "Chopsticks."

Works: Hugo Friedhofer: score to The Best Years of Our Lives (27-28, 31-38).

Sources: Taps (32); Traditional: It's Raining, It's Pouring (33); Hoagy Carmichael: Among My Souvenirs (33), Up a Lazy River (35); Antonín Dvořák: Symphony No. 9 in E Minor, From the New World (33).

Index Classifications: 1900s, Film

Contributed by: Kathleen Widden

Index Classifications: 1900s

The musical continuity in Rachmaninoff's Rhapsody on a Theme of Paganini represents the culmination of his approach to writing a set of variations explored in his earlier pieces as well as in those of his predecessors. Through such continuity he resolves the stop-and-start method that composers such as Mozart, Beethoven, and Brahms employed in variation writing: the breaks that occur when one variation ends on a cadence and the next one begins at once. Musical continuity in the variation process was not new but was revitalized by Rachmaninoff, who focuses more on the variations as a whole rather than on their individuality. Within such continuity, his variation sets are connected to his models. For example, in the Corelli Variations, the majority of the variations retain the regular phrase structure, similar length, and simplicity of the Folia melody. In the Paganini Rhapsody, Rachmaninoff's use of chromaticism, particularly in the introduction, is a direct reference to the chromatic contrary motion that resolves the augmented-sixth harmony in the penultimate measure of the original Paganini theme.

Works: Rachmaninoff: Variations on a Theme of Chopin, Op. 22 (19-26), Variations on a Theme of Corelli, Op. 42 (26-33), Rhapsody on a Theme by Paganini, Op. 43 (34-205).

Sources: Chopin: Prelude, Op. 28, No. 20 (23-24); Corelli: Violin Sonata, Op 5, No. 12 (30); La Folia melody (30); Paganini: Caprice in A Minor, Op.1, No. 24 (42-44).

Index Classifications: 1800s, 1900s

Contributed by: Hyun Joo Kim

Manuel de Falla’s Homenaje a Debussy functions not only as a tribute to the French composer but also as a tribute to the guitar through its ending quotation of Debussy’s Soirée dans Grenade, prominent habanera rhythm, and scoring for solo guitar. Debussy’s influence on Falla cannot be quantified but can be heard in a number of his pieces. Falla wrote his homage shortly after Debussy’s death and coupled the composition with a tributary article that highlighted Debussy’s compositional talents as well as his connection to Spain and Spanish music. Around this same time, Falla had recently become interested in the guitar. Having previously turned down requests from friend and guitarist Miguel Llobet to compose a piece for the instrument, Falla saw an opportunity to satisfy his and his friend’s interests while also paying tribute to Debussy, who was equally fascinated with the Spanish guitar. In addition to writing for solo guitar, Falla links Debussy to the instrument and to Spain by using harmonies common to the Andalusian tuning of the guitar. Homenaje a Debussy makes prominent use of the habanera rhythm, which Debussy used frequently in his Spanish-inspired pieces. Falla’s quotation of Soireé dans Grenade reinforces Debussy’s musical connection to Spain.

Works: Manuel de Falla: Homenaje a Debussy.

Sources: Debussy: Soirée dans Grenade (5).

Index Classifications: 1900s

Contributed by: Christine Wisch

Fantasia uses pre-existing classical music as the subject of animation that demonstrates three types of music: program music, music that does not have a plot but paints pictures, and absolute music. The film is an example of Disney's imagineering (engineering and imagination), in which images and stories add meaning to the abstract music. Images in the film create a familiar narrative to describe unfamiliar music to middle-class audiences. The structure of The Rite of Spring was modified to fit the narrative of the animators, and the narrative itself is not one intended by Stravinsky. Fantasia can be understood as an effort to construct ideologies of current social positions and behaviors through imagineering of the music, as seen in the animation for Beethoven's Symphony No. 6.

Works: Walt Disney (producer): Sound track to Fantasia.

Sources: J. S. Bach (arranged by Leopold Stokowski): Toccata and Fugue in D Minor (92-96); Stravinsky: The Rite of Spring (97-98); Beethoven: Symphony No. 6 in F Major (Pastorale) (99-105).

Index Classifications: 1900s, Film

Contributed by: Karen Anton Stafford

In 1904 or 1905, Frederick Delius composed his Mass of Life (with a text from Nietzsche's Also sprach Zarathustra), that is compared with several other works of that time, especially Mahler's Veni Creator and Bruckner's Te Deum. The article is the result of the author's "reminiscence hunting" and presents the findings as a series of personal reactions to Delius's work rather than in a systematic order. They concern "family resemblances" of content and style, including correspondeces of the dramatic layout.

Works: Delius: Mass of Life; Strauss: Also Sprach Zarathustra,Elektra; Bruckner: Te Deum; Mahler: Veni Creator, Symphony No. 2, Symphony No. 3, Symphony No. 8, Das Lied von der Erde; Wagner: Tristan.

Index Classifications: 1900s

Contributed by: Andreas Giger

The production of printed stock arrangements of jazz music in the 1920s and 1930s has typically been downplayed in jazz history compared to improvisation, but it is no less important to the dissemination of jazz. Stock arranger Archie Bleyer is remembered by black and white musicians alike as producing some of the finest jazz stocks of the era. By the late 1920s, stock arrangements produced by large publishing houses had developed a consistent formula and allowed dance bands to quickly incorporate new popular tunes into their repertoire. Bleyer, who went on to have a long industry career as a bandleader and arranger, produced many influential stock arrangements and is credited with being one of the first arrangers to regularly add sixths to chord voicings. His stock arrangement of Business in F, an original composition, exemplifies his incorporation of stylistic elements from both black and white jazz bands. His stock for Maceo Pinkard and Mitchell Parrish’s Is That Religion was another popular selection recorded by several different bands. In his arrangement, Bleyer adapts the faux-gospel Tin Pan Alley song into a hot jazz orchestration, adding spaces for solos and syncopated riffs. The three recordings of Is That Religion by Billy Cotton, Duke Ellington, and Cab Calloway realize the same arrangement in radically different ways, again highlighting the dynamic relationship between arrangement and improvisation in early jazz music.

Works: Archie Bleyer (arranger): Is That Religion? (153-58)

Sources: Maceo Pinkard and Mitchell Parrish: Is That Religion (153-58)

Index Classifications: 1900s, Jazz

Contributed by: Matthew Van Vleet

Index Classifications: 1900s

Since 1945, musical quotation of European classical music, opera in particular, has become a significant trend in contemporary American art song as exemplified by the works of William Bolcom, Tom Cipullo, and Benjamin C. Moore. Bolcom’s George, from volume 2 of his Cabaret Songs, tells the story of a drag performer who is murdered while singing Un bel di from Puccini’s Madama Butterfly. Throughout the song, Bolcom quotes Un bel di three times in the voice and piano, with the final quotation harmonized as a rich, dissonant lament. In his song Another Reason Why I Don’t Keep a Gun in the House, which deals with the frustration of a neighbor’s constantly-barking dog, Cipullo quotes several Beethoven symphonies—including the Eroica funeral march and Ode to Joy—in presenting its facetious revenge fantasy. Moore’s Content to be Behind Me satirizes the rivalry between singers and accompanists by juxtaposing quotations of Schubert’s lied Die Forelle with Rachmaninoff’s Second Piano Concerto, a much more interesting piece for the pianist. Sexy Lady (for mezzosoprano) and I’m Glad I’m Not a Tenor (for baritone) both quote several famous arias for soprano and tenor respectively, providing a humorous outlet for their less prestigious voice parts. Each of these examples uses existing music in unexpected ways to connect to audiences increasingly detached from classical music.

Works: William Bolcom: George (282); Tom Cipullo: Another Reason Why I Don’t Keep a Gun in the House (283-84); Benjamin C. Moore: Content to be Behind Me (284-85), Sexy Lady (284-85), I’m Glad I’m Not a Tenor (285-86).

Sources: Puccini: Madama Butterfly (282), Tosca (285), Turandot (285-86); Beethoven: Symphony No. 1 in C Major, Op. 21 (283), Symphony No. 3 in E flat Major, Op. 55 (283-84), Symphony No. 5 in C Minor, Op. 67 (283), Symphony No. 7 in A Major, Op. 92 (283), Symphony No. 9 in D Minor, Op. 125 (283); Schubert: Die Forelle (284-85); Rachmaninoff: Piano Concerto No. 2 in C Minor, Op. 18 (284-85); Handel: Giulio Cesare (284); Mozart: The Marriage of Figaro (284); Richard Strauss: Der Rosenkavalier (284-85); Bizet: Carmen (285).

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Bartók’s use of Ravel’s “Scarbo” motive as the main folk-like theme in his 1911 piano work Allegro Barbaro, particularly his barbaric transformations of the motive, should be interpreted as a musical joke targeted at French critics. Allegro Barbaro can be considered as a representation of Bartók’s career because it reflects his formal musical training as well as his interest in folk music. Bartók’s education in art music is reflected by the influence of Debussy’s music, whereas his folk influence came from his interaction with the authentic Hungarian folk music that he collected. The first theme in the A section is distinctively composed in a Hungarian folk-like style, and in the B section, the barbaric folk style is dramatically transformed into the French art idiom through Bartók’s borrowing of Debussy’s “Minstrels” motive. This idiosyncratic source of borrowing should be viewed in an ironic and humorous light. Then, the barbaric, folk-like style immediately attempts to reassert its dominance over the French art style throughout the rest of the B section. The returning A section continues this dramatic play, with the French Impressionistic style further emphasized by “planing.” The reassertion of the Hungarian folk style comes immediately with the return of the tonal center of F-sharp.

Generally, Bartók’s quotations can be divided into four groups: the first is one in which Bartók borrows from his predecessors and contemporaries, the second includes programmatic and autobiographical quotations, the third contains humoristic quotations, and the fourth contains shopwork, in which he self-borrows. In Allegro Barbaro, Bartók employs the third group, and he conveys an ironic narrative.

Works: Bartók: Allegro Barbaro, Sz. 49 (165-71).

Sources: Ravel: “Scarbo” from Gaspard de la nuit (165-66, 168-71); Debussy: “Minstrels” from Préludes, Book I (170).

Index Classifications: 1900s

Contributed by: Nicolette van den Bogerd, Jingyi Zhang

Scholarship on music in The Shining has largely ignored the semiotic richness of the incorporation of modernist musical works, but the historical subtexts of the pieces contribute to a unique Kubrickian approach to horror that relies on more than purely visceral audience response. By exploring congruencies between music and visual elements, certain symmetries come into focus that allow for a broader reading of music in the “Kubrick universe.” During the maze scene, Bartók’s Music for Strings, Percussion, and Celesta is a temporal phenomenon and is thus not congruous with the four-dimensional maze. Ligeti’s Lontano is used in two instances to accompany scenes of “shining,” but the third instance of its use deflects this established association. The symmetry between the music of Penderecki and the film extends even to the level of musical notation. Ultimately, one could read The Shining as an allegory of literate culture in the face of post-literate culture, represented in part by the use of modernist graphic scores.

Works: Stanley Kubrick (director) and Wendy Carlos (composer): soundtrack to The Shining (133-51).

Sources: Anonymous: Dies irae (131-32, 135); Bartók: Music for Strings, Percussion, and Celesta (134, 136-41); Ligeti: Lontano (136, 141-44); Penderecki: The Awakening of Jacob (144-46), Polymorphia (147).

Index Classifications: 1900s, Film

Contributed by: Kate Altizer

Musical artists within the Jewish American "hipster" scene (ca. 1986-2006) drew on conventions from rap and hip-hop as a means of negotiating a new Jewish identity. Of the many strategies to draw on the conventions of rap, one common tactic was parody. For instance, parody artist Shlock Rock parodied Aerosmith and Run DMC's Walk This Way (1986) and created Wash This Way, now a song about the Jewish hand-washing ritual. Despite the different lyrics, Shlock Rock's parody borrows vocal inflection, instrumentation, and even attitude. Although humor and parody were common reasons to incorporate rap and hip-hop into Jewish music, the Yeshiva-educated duo Black Hattitude used rap to promote a political and controversial program. Drawing on the stylings of rap, the duo included spoken tracks, took polemical points of view, and sampled artists such as Led Zeppelin. Such music provided a site in which young Jews could simultaneously negotiate a new Jewish identity and preserve and transmit their culture through such change.

Works: Lenny Solomon and Etan Goldman (songwriters), Shlock Rock (performers): Bless On It/Boogie in the Shul [Synagogue] (5), Wash This Way (5); Black Hattitude, R.E.L.I.G.I.O.N (7); Etan G (Etan Goldman): South Side of the Synagogue (8).

Sources: Newcleus: Jam On It/Boogie in the Club (5); Steven Tyler and Joe Perry (songwriters), Aerosmith (performers): Walk This Way (5); Steven Tyler and Joe Perry (songwriters), Run DMC (performers): Walk This Way (5); Led Zeppelin (Jimmy Page, Robert Plant, John Bonham, and John Paul Jones) and Willie Dixon: Whole Lotta Love (7, endnote 11); Peter Gabriel: Sledgehammer (7, endnote 11); Lenny Solomon (songwriter), Shlock Rock (performers): Yo Yo Yo Yarmulke (8), Recognize the Miracles (8).

Index Classifications: 1900s, 2000s, Popular

Contributed by: Kerry O'Brien

Video games can capitalize on the popularity of source music through the subject or narration of a game, including a popular musician as composer for the game, and licensing popular music for the soundtrack. One of the ways that video game publishers can offset monetary risks is to use well-known intellectual property such as films, music, and musicians and actors. In the case of the audio in video games, this intellectual property could be a well-known voice talent, sound designers, or popular music.

Games with music as the subject or part of the narration, such as PaRappa the Rapper and Guitar Hero have been popular overall with players. These types of games can be divided into three categories: creative games, rhythm-action games (both categories in which music is the primary part of gameplay), and musician-themed games, where musicians or bands appear as characters. Many popular musicians were also involved in the soundtracks for other more general games, as well as recording or rerecording songs for games. Even more popular is to simply license popular music for use in video games. Earlier video games were not as concerned with the music tracks, as they were difficult and time-consuming to program, so many of these games made use of classical music. Once the environment changed and creators needed to address issues of copyright and licensing, there was a stronger tie to the musicians whose music they were borrowing, including cross-media promotions and the sale of game soundtracks. Oftentimes the musicians whose songs are featured gain a boost of popularity from the game.

Works: Milton Bradley (manufacturer): Simon (36); SCEI (manufacturer): PaRappa the Rapper (36); Red Octane and Harmonix (manufacturers): Guitar Hero (36, 38); Atari (manufacturer): Journey’s Escape (37); Midway (manufacturer): Revolution X (37); Sega (manufacturer): Michael Jackson’s Moonwalker (37); Acclaim (manufacturer): Summer Heat Beach Volleyball (37); Vivendi (manufacturer): 50 Cent: Bulletproof (37); Codemasters (manufacturer): Music Generator (38); Harmonix (manufacturer): Frequency (38), Amplitude (38); Nintendo (manufacturer): Donkey Konga (38); Namco (manufacturer): Taiko Drum Master (38); Konami (manufacturer): Dance Dance Revolution (38); Time Warner Interactive (manufacturer): Rise of the Robots (38); id Software (manufacturer): Quake (38-39); SCEE (manufacturer): Wipeout Pure (39); Nintendo (manufacturer): Donkey Kong (40); Atari (manufacturer): Crystal Castles (40); Centuri (manufacturer): Vanguard (40); Sega (manufacturer): Dracula Unleashed (41); DTMC (manufacturer): Adventures of Dr. Franken (41); Blizzard (manufacturer): Rock’N’Roll Racing (41); Psygnosis (manufacturer): Wipeout XL (41); EA Sports (manufacturer): Madden NFL 2003 (41), FIFA 2006 (42); Neversoft (manufacturer): Tony Hawk’s American Wasteland (42); Reflective (manufacturer): Driver: Parallel Lines (42); Sony (manufacturer): SingStar (43).

Sources: Journey: Escape (37), Frontiers (37); Aerosmith: Eat the Rich (37), Sweet Emotion (37), Toys in the Attic (37), Rag Doll (37), Walk this Way (37); Michael Jackson: Thriller (37), Bad (37); Deep Purple: Smoke on the Water (38); Megadeth: Symphony of Destruction (38); Brian May: The Dark (38); Tchaikovsky: 1812 Overture (40), Nutcracker Suite (40); Liszt: Mephisto Waltz (40); Anonymous: Turkey in the Straw (40); Scott Joplin: Maple Leaf Rag (40); Queen: “Vultan’s Theme” from Flash Gordon (40); Deep Purple: Highway Star (41); Beethoven: Piano Sonata in C-sharp Minor, Op. 27, No. 2 (“Moonlight”) (41); Carl Orff: Carmina Burana (41); George Thorogood: Bad to the Bone (41); Steppenwolf: Born to be Wild (41); Black Sabbath: Paranoid (41); Good Charlotte: The Anthem (41); Selasee: Run (42).

Index Classifications: 1900s, 2000s, Film

Contributed by: Emily Baumgart

Humor and programmatic effect are the two primary reasons for Debussy's musical borrowings. Debussy draws his borrowed material from classical music, popular songs, and national anthems. These points are illustrated through detailed analyses of pieces in which Debussy incorporates national anthems.

Works: Chabrier: Souvenirs de Munich (20); Debussy: "Golliwog's Cake-walk" from Children's Corner (20), "La Boite à joujoux," from Images oubliées (20), "Jardins sous la pluie" from Estampes (20), "Rondes de printemps" from Images (20), 9th Prelude (Book II) (20), Berceuse heroique (20, 22-23), En blanc et noir (second piece) (20, 23-26), "Feux d'artifice" from Préludes, Book II (21); Fauré: Fantasie en forme de quadrille sur des motifs du Ring (20); Tchaikovsky: 1812 Overture (20); Clementi: Symphony No. 3 in G Major, "Great National Symphony" (21).

Sources: Wagner: Tristan und Isolde (20); Mendelssohn: "Wedding March" from Midsummer Night's Dream (20); Arne: God Save the King (20-22); Campenhout, François van: "Brabançonne" (20, 22-23); Rouget de Lisle: La Marseillaise (21-22, 24, 26); Luther: Ein feste Burg (24-25); Haydn: Symphony in G Major, Hob. I:100, "Military" (24)

Index Classifications: 1800s, 1900s

Contributed by: Paula Ring Zerkle

Stravinsky's use of conventions involves the defeat of the expectations set up by those conventions. The reference to earlier conventions may or may not involve thematic allusions. Pulcinella is based upon borrowed materials while the Symphony in C is not. In the case of the symphony, however, the presentation of the first theme (in its I-II-V sequence) does recall the presentation of the first theme in Beethoven's First Symphony.

Index Classifications: 1900s

Contributed by: David C. Birchler

In examining the composition and performance of musical works, the question of persona is raised: whose persona does the music represent--that of the composer, the performer, or (in the case of vocal music) the character portrayed by the performer? With respect to musical borrowing, the relevant question is: whose voice or persona is speaking in the borrowed material, the original composer's or the borrower's? In the case of self-borrowing by a vocal composer, it is the composer's own voice, rather than that of the poet whose text he or she originally set, that speaks through the borrowed material (p. 41). In an instrumental transcription of a vocal work, the vocal melody retains its original textual associations, thereby preserving the original composer's voice despite the removal of the text (pp. 76-78). When the situation is reversed, as in a popular vocal arrangement of an instrumental classic, the original composer's persona is still felt, as is the case with arrangements of Chopin and Tchaikovsky melodies (p. 45). Concerning the transcription of an existing instrumental work for a new instrumental combination, the integrity of the transcription (its preservation of the original composer's voice) rests on its use of a restricted choice of instrumentation (p. 108). Lastly, folk-tune or anthem borrowings can seem ridiculous if they are too obvious, where the original composer's voice completely overpowers the borrower's persona, disrupting the new piece. Puccini's use of The Star-Spangled Banner in Madama Butterfly is a prime example of this (p. 162).

Works: Brahms: Chaconne in D Minor by J. S. Bach (arranged for piano left hand); Busoni: Chaconne in D Minor by J. S. Bach (arranged for piano); Liszt: Liebestraum No. 3, Sonnets of Petrarch; Puccini: Madama Butterfly ; Webern: Ricercar a 6 voci by J. S. Bach (arr. for orchestra).

Index Classifications: General, 1800s, 1900s

Contributed by: Edward D. Latham

The practice of sound recycling, defined as the repurposing of sonic material, challenges and reconfigures the psychological models used to understand sound perception, Audio Scene Analysis in particular. Auditory Scene Analysis posits that in the perception of auditory information, complex sounds are parsed into segregated streams arising from distinct sources. The track Do While from Oval’s 1995 album 94 diskont provides a case study for discussing how sound recycling works in terms of sound perception. Do While, an example of “deconstruction electronica,” is composed of uncredited borrowed sound material and technological traces of a skipping CD. By using the frameworks of rhizome and assemblage (both adapted from network theory), the borrowed material is recontextualized into new forms. The resulting collage renders acoustic symbols of the medium (CD album) ambiguous. Technological listening, or the awareness of technological process over musical meaning, also affects works like 94 diskont and Vladimir Ussachevsky’s Wireless Fantasy (1960), which alters a recording of Wagner’s Parsifal with the distinctive soundscape of short wave radio. When considered through these frameworks, musical borrowing challenges the model of ASA by introducing a fluid relationship between the awareness of sound and the awareness of the technology mediating sound.

Works: Oval: Do While (159-161); Vladimir Ussachevsky: Wireless Fantasy (161).

Sources: Wagner: Parsifal (161).

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

This is the companion volume to Copland: 1900 Through 1942. References to musical borrowings occur throughout the text. Much of the borrowing now focuses on associative connections for film scores. Apart from outright arrangements or music intended for student performers, there are few pieces that incorporate American folksongs past The Tender Land (1954). Much of Copland's borrowing in this period is of stylistic traits rather than direct quotation. Self-borrowing is most common in the later works.

Works: Aaron Copland: The North Star (film score) (15-16), Appalachian Spring (32-33), Variations on a Theme by Goosens (61), The Cummington Story (film score) (62-63), Third Symphony (68-69), Tragic Ground (unfinished) (76, 166-67), The Red Pony (film score) (88-91), The Heiress (film score) (98-107), Old American Songs (166-67), The Tender Land (220-21), Three Latin-American Sketches (273), Dance Panels (275-76), Music for a Great City (333-34), Emblems (343-44), Happy Anniversary (261)

Sources: Song of the Fatherland (16); Internationale (16); Simple Gifts (32-33, 166); Aaron Copland: Fanfare for the Common Man (68), Tragic Ground (88) Something Wild (film score) (333-34); I Got Me a Cat (76); So Long, Old Paint (90); Giovanni Martini: Plaisirs d'Amour (100, 106); Daniel Decatur Emmett: The Boatmans's Dance (166); The Dodger (166); Long Time Ago (166); The Little Horses (167); John G. McCurry (attrib.): Zion's Walls (167, 220-21); The Golden Willow Tree (167); Robert Lowry: At the River (167); Ching-a-Ring Chaw (167, 220); Amazing Grace (343); Happy Birthday (361, 375).

Index Classifications: 1900s

Contributed by: Elizabeth Bergman, Felix Cox

Within the context of a comprehensive autobiography, numerous musical borrowings are considered. The majority of pieces quote or paraphrase American folksongs; these are named when known. Other types of borrowing include arrangement, variations, settings, and self-borrowing. Copland also mentions instances of borrowing in the music of his colleagues.

Works: Aaron Copland: Dance Symphony (86, 163), Vitebsk (160-63), Statements for Orchestra (236), El Salón México (245ff), Second Hurricane (261), Billy the Kid (279-80), Billy the Kid (suite) (284-85), John Henry (291), Lincoln Portrait (342ff), Las Agachadas (355), Rodeo (357), Four Dance Episodes from Rodeo (363); Virgil Thomson: The Plow That Broke the Plains (357, 388n19).

Sources: Aaron Copland: Grohg (86, 163); James W. Blake and Charles B. Lawlor: The Sidewalks of New York (236); El Mosca (246); El Palo Verde (246); La Jesusita (246); La Malacate (246); The Capture of Burgoyne (261); Great Grand-Dad (280, 284-85); The Chisholm Trail (280, 284); Git Along Little Dogies (280, 284); Bury Me Not on the Lone Prairie (284, 354); John Henry (291); Stephen Foster: Camptown Races (342-43); Springfield Mountain (The Pesky Sarpent) (342-43); Ground Hog (357); Old Paint (363, 388n19); If He Be a Buckaroo by Trade (363); Sis Joe (363, 354); Bonyparte (363); McLeod's Reel (363); The Man on the Flying Trapeze (367).

Index Classifications: 1900s

Contributed by: Elizabeth Bergman, Felix Cox

The recontextualization of pre-existing classical music within film brings complexity and ambiguity to film. Four reasons for this ambiguity are as follows: the music's original meaning may be indeterminate; the process of extracting and recontextualizing music increases ambiguity; audiences understand music in different ways; and awareness that the music was not originally written for the film creates distance between the music and straightforward interpretation. Since Rachmaninov's Second Piano Concerto is pre-existing but does not have an agreed upon meaning, it can be understood in film through several different codes and interpretations (including conventional cinematic musical codes), making it more complex than newly composed scores. In Détective, the disjunction between the visual film and the short well-known classical music excerpts does not allow the use of cinematic musical codes, but it does produce complexity.

Works: Martin Scorsese (director): Sound track to Raging Bull (21-23, 28); David Lean (director) and Noel Coward (writer/producer): Sound track to Brief Encounter (23-26, 28-29); Jean-Luc Godard (director): Sound track to Détective (26-29).

Sources: Pietro Mascagni: Cavalleria rusticana (21-23); Rachmaninov: Piano Concerto No. 2 in C-sharp Minor (24-26); Schubert: Symphony No. 8 in B minor (Unfinished) (27); Wagner: Rienzi (27).

Index Classifications: 1900s, Film

Contributed by: Karen Anton Stafford

Folk songs have long been a vehicle for political activism, and quotations of traditional American protest songs in contemporary art music can serve the same call-to-action function, as exemplified by Frederic Rzewski’s 1979 solo piano ballad Which Side Are You On?. Many of Rzewski’s compositions are explicitly political in nature, expressing outrage toward abuses of power and an affinity for Marxist ideology. Which Side Are You On? is a setting of the union song from the 1930s about the violent struggle to unionize coal mines in Harlan County, Kentucky. Rzewski’s setting opens with disjointed fragments of the tune (at least 205 in total) presented in all twelve keys. At the midpoint of the piece, the fragments begin to rhythmically (but not tonally) join in larger portions of the tune. After that, the performer is instructed to begin improvising in a “sudden radical change” for the same duration as the notated music, representing the other “side” of the struggle, the failure to collectively organize. An eight-measure statement of the entire folk tune in its original key of B minor concludes the piece, creating a clear musical symbol for the power of unionization and solidarity. Through his skillful use of folk tune quotation, Rzewski is able to communicate a political message in an accessible, distinctive way.

Works: Frederic Rzewski: Variations on “¡El Pueblo Unido Jamás Será Vencido!” (56), Long Time Man (56), Which Side Are You On? (62-66).

Sources: Traditional: El Pueblo Unido Jamás Será Vencido (56), It Makes a Long-Time Man Feel Bad (56); Florence Reece (lyricist): Which Side Are You On? (62-66).

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1900s

The 1978 NBC "docudrama," The Rutles: All You Need Is Cash, is a humorous satire of the music and history of the Beatles. According to Schopenhauer, an amused reaction arises as a response to the "recognition of incongruity between a representation and a concept." Thus, for a listener to experience an amused response to musical satire, he or she must possess "stylistic competencies" that allow for the recognition of the congruity-incongruity dialectic in the music. The fictitious Rutles's Hold My Hand is modeled on three Beatles songs, and it incorporates elements of lyrics, pitch, rhythm, harmony and instrumentation from the sources. Evidence of modeling in Ouch!, a parody of the Beatles' song, Help!, is found in instrumentation and in formal and harmonic similarities to the source. The harmonic parallelism is such that a dialogue between Ouch! and Help! emerges, which is facilitated by diminution of the model's harmonic rhythm and partial reordering of the harmonic progression. Leonard Meyer's theory of style, in combination with the semiotic theory of intertextuality, can become a powerful analytic device in explaining musical satire. The humor arises from the listener's recognition of the model and the clever alterations and juxtapositions of the original material. This recognition must take place on three different levels of specificity: dialectic or general style (e.g., British invasion), individual idiom (e.g., early Beatles style), and intraopus style or the style within a single work (e.g., the style of Help!).

Works: Neil Innes: Hold My Hand (124-32), Ouch! (133-37).

Sources: John Lennon and Paul McCartney: I Want to Hold Your Hand (124-32), She Loves You (124-32), All My Loving (124-32), Help! (133-37).

Index Classifications: 1900s, Popular, Film

Contributed by: Victoria Malawey, Sarah Florini

Index Classifications: 1800s, 1900s

Index Classifications: 1900s

The term "cover" does not accurately describe the history behind or motivations for an artist recording a previously recorded song. In the 1950s, listeners did not make the same associations between song and singer that they make today; therefore re-recording a song was not understood as a reference in any way to the earlier artist. "The music itself" existed independently of its realization; therefore multiple versions of a song could circulate and not be considered to be referential. Re-recording a song that was circulating at the time was known as "hijacking a hit." It was not until Elvis re-recorded older R&B records that were no longer circulating that the cover song in the modern sense of the word came into existence.

Works: Chuck Willis (songwriter), Derek and the Dominos (performers): It's Too Late (151-52); Otis Redding (performer): It's Too Late (151-52).

Sources: Chuck Willis (songwriter and performer): It's Too Late (150-52); Otis Redding (performer): It's Too Late (151-52).

Index Classifications: 1900s, Popular

Contributed by: Paul Killinger

Since its premiere in Gershwin's 1930 musical Girl Crazy, the song I Got Rhythm has been performed, arranged, and recorded countless times. In these subsequent realizations of Gershwin's song three approaches can be identified in which the original material is treated as (1) a song played and sung by popular performers, (2) a jazz standard, a piece known and frequently played by musicians in the jazz tradition, and (3) a musical structure, a harmonic framework upon which jazz instrumentalists have built new compositions. These new compositions, called contrafacts, include examples such as Duke Ellington's 1940 Cotton Tail, Charlie Parker's 1940 Steeplechase, Parker and "Dizzy" Gillespie's 1945 Shaw 'Nuff, and many others. Tables listing titles of Parker I Got Rhythm contrafacts and recordings of I Got Rhythm contrafacts (up to 1942) are included.

Works: Ellington: Cotton Tail (229-30), Parker: Steeplechase (232), Red Cross (232), Moose the Mooche (233), An Oscar For Treadwell (233); Parker and Gillespie: Shaw 'Nuff (239).

Sources: Gershwin: I Got Rhythm (213-44).

Index Classifications: 1900s, Jazz, Popular

Contributed by: Scott Grieb

Composers can expand their musical possibilities by borrowing samples of pre-existent music. For instance, Noah Creshevsky's Borrowed Time samples music from the twelfth to twentieth centuries. By incorporating a variety of disparate samples, one can represent the multicultural society in which we currently live. The revolution of technological media has made sampling equipment readily available. Creshevky's compositional processes have changed in reaction to this technological shift, in that the samples used are often so short in duration as to obscure their origins. Sampling an entire stanza from an aria would be a quotation, belonging to composer and librettist, but sampling just a syllable is an unidentifiable form of sampling and musical borrowing. Whether in times of bounty or scarcity, composers should borrow music, for there is plenty to go around.

Works: Noah Creshevsky: Borrowed Time (91, 96).

Index Classifications: 1900s

Contributed by: Kerry O'Brien

Index Classifications: General, 1600s, 1700s, 1800s, 1900s

The music of seminal Los Angeles hardcore punk band Black Flag is a (sometimes tenuous) testament to the fluctuating nature of racial identities and communities and has potential to rouse its listeners from complacency with racial hegemony. Black Flag’s song White Minority, first recorded in 1978, is an example of the complicated nature of racial politics in LA punk. Lyrically, the song expresses racist paranoia, attracting critiques of racism in the LA punk scene. However, the band has claimed that the song is meant to be sarcastic and darkly ironic, a reading supported by the fact that the two singers who recorded the song for Black Flag were Jewish and Puerto Rican respectively. Other songs more directly express the band’s anti-authority politics. Black Flag’s rewrite of rock song Louie Louie, released in 1981, sonically voices a multiethnic and multiracial resistance to white supremacy. The strained and painful vocal performance by the band’s third singer, Dez Cadena (who soon after quit the band due to vocal stress), can be read as a metaphor for straining against the limitations faced by nonwhite youth in a situation of white ethnic dominance. The original recording of Louie Louie, with lyrics about Jamaican sailors and inverted cha-cha-cha rhythm, is itself emblematic of the hybridity inherent in rock and roll. Black Flag’s version dramatically rewrites the love song into an antisocial rant performed with an air of ambivalence. The verses use completely new text, and the organ solo is recast as a harsh, atonal guitar solo. In adapting the rock and roll classic, Black Flag continues a tradition of boundary crossing and dialogue between white, black, and brown working-class rock musicians. The new direction of Black Flag’s sound in the mid-1980s further expresses an ethic of boundary crossing and resistance with the band’s adoption of elements of free jazz.

Works: Black Flag: Louie Louie (73-78)

Sources: Richard Berry: Louie Louie (73-78)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1900s, Jazz

Short animations function differently from the feature length films currently focused on within the field of film music research, but examining how music works in these animated shorts can encourage us to rethink our conceptions of feature film music as well, including vocabulary and techniques. Image/sound hierarchy, the separation of soundtrack into dialogue/music/effects, and the diegetic/non-diegetic separation are all difficult if not impossible to apply to animation. There is also an economic angle to animations—Warner Brothers, anticipating the success of “talkies,” bought up several music publishing houses and strongly encouraged its workers, including those in animation, to use these in-house songs or works within the public domain. Hence, early Looney Tunes cartoons used all available songs to their full potential, leading to the “Merrie Melodies” series of cartoons using both hit music such as 42nd Street and flops like Manhattan Parade. The division of cartoons into a separate music-based series was not specific to Warner Bros.; Disney’s “Silly Symphonies” followed the same pattern, chipping away at the traditional hierarchy that placed image above music. Songs from musicals were often used in singing and dancing routines, where it becomes difficult to distinguish between dialogue and music. Likewise, rather than referring to a diegetic/non-diegetic distinction, it is often more useful to think of animation as isomorphic/iconic.

Works: Warner Bros. (studio): Young and Healthy (193), Shuffle Off to Buffalo (193), Three’s a Crowd (195), You Don’t Know What You’re Doin’! (195, 198), Hamateur Night (196), Rhapsody Rabbit (196), What’s Up, Doc? (196), Sinkin’ in the Bathtub (196), Hold Anything (198, 200), Smile, Darn Ya, Smile (198), Petting in the Park (199), Red-Headed Baby (201), Big Man from the North (201-2); Oskar Fischinger: Motion Painting No. 1 (202).

Sources: Mervyn Leroy: 42nd Street (193, 195); Bach: Brandenburg Concerto No. 3 (202).

Index Classifications: 1900s, Film

Contributed by: Emily Baumgart

According to Charles Seeger, folk music represents the epitome of plagiarism. Since rap music relies so heavily on digital sampling, rap and folk music are therefore linked through similar processes of musical borrowing. The explanation for such borrowing is not plagiarism but a new definition of creativity: creativity as synthesis of existing materials. Rap and folk music are also extensions of oral traditions, which value synthesis over novelty.

Index Classifications: 1900s, Popular

Contributed by: Felicia Miyakawa

Recording labels in Nashville demand that recording artists be singer-songwriters: that is, that musicians write and perform their own songs. Critics and fans believe that writing and performing one's own songs is the best measure of the legitimacy of a musician's abilities. This expectation ignores the potential value of cover songs and the interpretive skill of covering artists. Not only can a cover song provide a new interpretation of a song, but it may introduce music to new listeners who are unfamiliar with the original because of separation by time or genre. For covering artists, cover songs are important for three reasons: (1) the song has a proven track record of commercial success, (2) the song can act as a nod or tribute to an important influence on the artist, and (3) it can provide audiences with familiar music as they hear a new artist.

Index Classifications: 1900s, Popular

Contributed by: Paul Killinger

Plunderphonics—the technique of sampling and then dramatically editing those samples of existing music—challenges traditional notions of property rights, individual creativity, and originality, and thus calls for news modes of discourse. When recorded music becomes the sole source material for a new composition (the re-edited work), the concept of origination no longer matters; this radically subverts art music narratives of creative geniuses and autonomous artworks. Instead, plundering is a form of positive plagiarism that does not fit into the current modes of discourse on originality and property rights or existing copyright laws that emphasize the creation of a work by one author from nothing. Recording undermines the core of the classical art tradition because it bypasses notation, allowing the finished music itself to become the raw material of a re-edited work. Instead of creativity being the sole province of the composer in the art music tradition, recorded sounds and plundering place the impetus of creativity on the listener as new art can be made solely through listening without the constraints of notation. In order to better understand how musical plundering operates within popular and, more rarely, art music, we need to develop new frameworks of engaging with these issues of copyright and creativity.

Works: John Oswald: The Great Pretender (139), Plexure (153); Michael Jackson: Will You Be There? (139); John Coltrane (performer): My Favorite Things (142); John Cage: Imaginary Landscape No. 1 (145), Imaginary Landscape No. 4 (145), Imaginary Landscape No. 5 (145); Ottorino Respighi: Pina di Roma (145); Pierre Schaeffer: Etude aux tourniquets (145); James Tenney: Collage No. 1 (145), Viet Flakes (147); Frank Zappa: Absolutely Free, Lumpy Gravy, We’re Only in it for the Money (148); The Beatles: Tomorrow Never Knows (148), Revolution 9 (148); Stockhausen: Opus 1970 (148); The Residents: Third Reich and Roll (148), Beyond the Valley of a Day in the Life: The Residents Play The Beatles/The Beatles Play The Residents (149); Richard Tryhall: Omaggio a Jerry Lee Lewis (148).

Sources: Dolly Parton (performer): The Great Pretender; Beethoven: Symphony No. 9 in D Minor, Op. 125 (139); Richard Rodgers (composer), Oscar Hammerstein II (lyricist): My Favorite Things from The Sound of Music (142); Elvis Presley (performer): Blue Suede Shoes (145); Jerry Lee Lewis: Whole Lotta Shakin’ Goin’ On (148).

Index Classifications: 1900s, Popular

Contributed by: Sarah Kirkman

Index Classifications: 1900s

Although the tango originated in Buenos Aires, several Ashkenazi Jewish songwriters in Europe soon adopted this genre as their own, either by giving existing tango melodies new lyrics in Yiddish or by composing new ones. The Ashkenazi Jews soon exported their Yiddish tangos to cities like New York City and Buenos Aires, where they became staples of Yiddish theater and musical productions. During World War II and after, the tango became an especially symbolic and even painful genre for Jews, as Nazis sometimes forced prisoners in concentration camps to play tangos when other prisoners were killed. Despite this, the tango genre also offered Jewish prisoners a medium for expression and a tie to their heritage, and the familiar melodies allowed the prisoners to easily remember their new lyrics. For instance, songs like Kinder yorn and Makh tsu di eygelekh include musical gestures that allude to the tango, while the contrafact camp song Yiddish Tango was adapted and reworked from Shpil zhe mir a lidele in yidish as a song of resistance.

Works: Anonymous: Death Tango (116); Anonymous: Der Todesfuge (116); Dovid Beigelman: Kinder yorn (117), Makh tsu di eygelekh (117); Ruven Tsarfat: Yiddish Tango (118); Rikle Glezer: Es iz geven a zumertog (118); Anonymous: Niewolnicze tango (118); Mary Sorianu: Tango fun libe (118).

Sources: Eduardo Bianco: Plegaria (116); Julio César Sanders: Adios Muchachos (111); Ángel Villoldo: El Choclo (111); Dovid Beigelman: Ikh ganve in der nakht (114); Henech Kon: Shpil zhe mir a lidele in yidish (118); Herman Yablokoff: Papirosn (118); Gerardo Matos Rodríguez: La Cumparsita (118).

Index Classifications: 1900s, Popular

Contributed by: Cynthia Dretel, Matthew G. Leone

Index Classifications: 1900s

Dale lists works (from Beethoven till present) that include quotations. They can be grouped into pieces (1) quoting Dies Irae, (2) quoting Beethoven, (3) by Wagner quoting other works, (4) by Borodin, Elgar, and Ives quoting other works, (5) in which Schumann was quoting, and (6) by other composers. The principle of quoting is clearly separate from parody, the stylistic imitation of an other composer, which is not included in this essay.

Works: Borodin: The Valiant Knights (626); Elgar: The Music Makers (626); Ives: An Elegy for Stephen Foster (626).

Index Classifications: General, 1800s, 1900s

Contributed by: Andreas Giger

Patti Smith's version of Van Morrison's Gloria transforms the meaning of the original through the use of textual tropes and altered vocal performance that ultimately decenters the "dominant male rock singer" to clear out creative space for herself. In her version, Gloria in excelsis deo, Smith adds a great deal of text to the original lyrics but retains some of Morrison's text without changing the male perspective, deliberately playing up the male sexual undertones. Smith also utilizes a number of subtle vocal inflections to emphasize specific words and phrases and bring out meaning in the text. These vocal performance techniques include qualities such as "raspy," "hard/nasal," "breathy," or "creaky," as well as exaggerated or closed vowel sounds and pitch inflections. An appendix contains the text to Morrison's Gloria and a transcription of Smith's version featuring both traditional staff notation and the author's notation for indicating vocal performance techniques.

Works: Van Morrison and Patti Smith: Gloria in excelsis deo.

Sources: Van Morrison: Gloria.

Index Classifications: 1900s, Popular

Contributed by: Sarah Florini

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: 1900s

Cinema attempts to claim a status as an art form and offer the elitism of opera to new audiences in opera film. The opera film creates a hybrid cultural artifact that blurs boundaries between high and low culture, which can be seen in Cecil B. DeMille's Carmen, Otto Preminger's Carmen Jones, and Francesco Rosi's Carmen. Bizet's Carmen as an opera is a hybrid of high and low culture in and of itself, a characterization maintained in film opera versions of it. Otto Preminger's Carmen Jones uses Bizet's music but with lyrics by Oscar Hammerstein and an entirely black cast, playing into the tradition of the musical. The consideration of filmed opera as a cultural hybrid, implying distance, allows tension between high and low culture to be preserved and invites the audience to appreciate the elite high culture.

Works: Works: Cecil B. DeMille (director): Sound track to Carmen (48-49, 55); Otto Preminger (director): Sound track to Carmen Jones (49-51, 55); Francesco Rosi (director): Sound track to Carmen (51-55).

Sources: Bizet: Carmen (48-55).

Index Classifications: 1900s, Film

Contributed by: Karen Anton Stafford

The commercially available samplers invented in the 1980s have a long history that can be seen to include the early digital (but not binary) technology of the telegraph up until the invention of modern digital technology. After World War I inventors constructed and patented musical instruments based on available sound recording technologies as well as early versions of magnetic tape recorder dictating machines. This is generally considered the first "sampler." By 1948, Pierre Schaeffer initiated musique concrète and developed a technique similar to the later tape loop, the sillon fermé. Influenced by the invention of magnetic tape, Schaeffer transferred all of his disc recording techniques to the medium of magnetic tape and patented his Phonogène in the 1950s. In 1964, the first successful instrument based on magnetic tape technology, the Mellotron, was marketed. The first digital sampling instruments appeared in the early 1970s, and by the second half of the 1980s digital sampling technology had become a standard part of every electronic piano, organ, or synthesizer. Musicians have explored extensively the possibilities of the manipulation of recorded sound. The phonograph has been used for works like John Cage's Imaginary Landscape No. 5 as well as "scratching" by DJs in the popular music tradition. Other works have used this technology to manipulate pre-existing recorded works by other artists, generating conflict with copyright law. Among these works are James Tenney's Collage No. 1 ('Blue Suede') and John Oswald's Plunderphonics. Live manipulations of prerecorded magnetic tape material, such as Laurie Anderson's Tape Bow Violin, have also been explored. Commercial digital samplers are now used in a variety of contemporary composers' works, such as Michel Waisvisz 's The Archaic Symphony or Nicolas Collins's Devil's Music.

Index Classifications: 1900s, Popular

Contributed by: Sarah Florini

Rumel Fuentes’s cover of Doug Sahm’s song Chicano authenticates the original through Allan Moore’s typology of authenticity. Moore proposes a three-part typology of authenticity in popular music, consisting of first-, second-, and third-person authenticity that is constructed by the act of listening. Sahm, born in San Antonio of German descent, speaks in the first person in Chicano, which raises concerns about his capacity to speak for the Chicano community. In Moore’s typology, Sahm’s performance of Chicano is inauthentic in the first-person (authenticity of expression) and third-person (authenticity of execution) senses. The history of American popular music is full of racial crossing, so Sahm’s adoption of a Chicano persona is not unprecedented. Fuentes, also a Texas native and heavily involved in the Chicano movement of the 1970s, recorded a cover of Chicano in 1972 (although it was not released until 2009). Fuentes modifies some of the original lyrics to declare his Chicano identity more assertively, including adding an additional verse. He also alters the rhythm section to use a traditional conjunto line-up rather than the hybrid instrumentation of Sahm’s band. The gritos (screams) in Fuentes’s vocal delivery further add to his cover’s working-class aesthetic. Fuentes’s cover lends Sahm’s Chicano a greater sense of second-person authenticity (authenticity of experience) by validating that Chicano resonates with the experiences of Mexican-American audiences.

Works: Rumel Fuentes (performer), Doug Sahm (songwriter): Chicano (87-91).

Sources: Doug Sahm: Chicano (87-91).

Index Classifications: 1900s, Popular

Contributed by: Matthew Van Vleet

Index Classifications: 1800s, 1900s

Index Classifications: 1800s, 1900s

Golliwog’s Cakewalk from Claude Debussy’s Children’s Corner (1908) appropriates a complex set of signifiers related to American slavery mediated through a French colonial context and thus becomes an uncanny (in Freud’s sense) cultural commodity. One signifier of slavery adopted by Debussy is the Golliwog doll, which has its roots in minstrelsy and represents a commodification of black bodies. The cakewalk dance follows a similar trajectory, originating as a plantation dance and eventually imitated in minstrel shows and by white Parisian socialites. Debussy’s conspicuous quotation of Wagner’s Tristan und Isolde has been understood as a grotesque representation of Wagner’s music in the supposed “primitive” form of the cakewalk. It can also be read as Debussy’s humorous expression of the incompatibility of refined Western culture (represented by Wagner) and the primitive Golliwog. Together, these signifiers represent Freud’s notion of the uncanny, bringing to light the violent history of American slavery and French colonialism in a seemingly trivial, modern cultural product.

Works: Debussy: Golliwog’s Cakewalk, from Children’s Corner (23, 27-29)

Sources: Wagner: Tristan und Isolde (23, 27-29)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

In the United Kingdom, the Copyright Designs and Patents Act 1988 does not except parody from copyright violation. Since then, both the Gowers Review of Intellectual Property in 2006 and the Intellectual Property Office in 2008 stated that including an exception for parody would be in the best interests of producers and consumers. In 2009 the Intellectual Property Office reversed their position, rejecting an exception for parody. Yet such an exception should be made, as demonstrated by considering the conditions for parodic use under the current laws and the arguments for and against the exception of parody. In certain situations, direct borrowing of significant portions of music is necessary for the success of the parody, and often the necessity directly depends on various factors surrounding each individual case; this is where copyright fails to protect the parodist.

Works: Rick Dees: When Sonny Sniffs Glue (792); 2 Live Crew: Pretty Woman (792); Saturday Night Live: I Love Sodom (794).

Sources: Jack Segal and Marvin Fisher: When Sunny Gets Blue (792); Roy Orbison: Oh, Pretty Woman (792); Steve Karmen: I Love New York (794).

Index Classifications: 1900s, Popular

Contributed by: Nathan Landes

Martin Scorsese’s directing and editing work in his 1995 film Casino, with its compiled score firmly integrated into the film’s structure, can be understood as music composition in the manner of a sample-based DJ. The film is scored for 129 minutes of its 178-minute runtime and contains eighty-three discreet musical cues drawn from sixty-one cleared tracks. The enormity of this musical project was aided by Scorsese utilizing digital editing tools for the first time, allowing the soundtrack and film footage to be manipulated simultaneously. Although Scorsese claimed to strictly select period-appropriate music in a 1996 interview, the actual compiled score is drawn broadly from music of the 1950s, 1960s, and 1970s, at odds with the film’s stated timeline of 1973-1983 and suggesting no musical chronology. Instead of establishing the film’s setting, the score dictates the pace and tone of the edit. Scorsese frequently cues contrasting tracks back-to-back, sonically supporting the film’s constructed dialectic between the glittery appearance of Las Vegas and the dark reality of its mob rule. Scorsese uses voice-over narration to move the plot along throughout the film, and several musical cues take on the narrative function. To achieve this effect, Scorsese meticulously edited the dialogue, film, and soundtrack to allow the score to “speak” for the characters. Musical style also serves to delineate the two narratives of Casino. Rock music scores the violent mob scenes, and classic pop scores the marriage in decline. Despite the volume and variety of music in the film, the characters are portrayed as decidedly un-musical and rarely if ever engage with music in a meaningful way. There is also no clear correlation between the music scoring a character and the style of music that character might be expected to listen to or enjoy diegetically. Instead, the musical cues and their construction into a compiled score reflect Scorsese’s voice as a curator and composer, reflecting his personal taste in music and making Casino a profoundly musical film.

Works: Martin Scorsese: compiled score to Casino (287-312)

Sources: J. S. Bach: St. Matthew Passion, BWV 244 (292); Paulo Citarella and Louis Prima (songwriters), Louis Prima (performer): Angelina / Zooma Zooma (292, 295-97); Al Bell (songwriter), The Staple Sisters (performers): I’ll Take You There (292, 294); Stanley Adams and Maria Grever (songwriters), Dinah Washington (performer): What A Difference a Day Makes (294, 304); Irving Gordon (songwriter), Dinah Washington (performer): Unforgettable (304); Charles Tobias (songwriter), Jerry Vale (performer): Love Me the Way I Love You (294); Elsa Byrd and Paul Winley (songwriters), The Paragons (performers): Let’s Start All Over Again (294); Mick Jagger and Keith Richards (songwriters), The Rolling Stones (performers): Sweet Virginia (294), (I Can’t Get No) Satisfaction (302-3), Can’t You Hear Me Knocking (310); Edgar De Lange, Will Hudson, Irving Mills, and Morris Stoloff: Moonglow (296-27); Billy Page (songwriter), Ramsey Lewis (performer): The In-Crowd (297-98, 300); Billy Page (songwriter), Dobie Gray (performer): The In-Crowd (297-98); Gene McDaniels (songwriter), Les McCann and Eddie Harris (performers): Compared to What (298); Willie Dixon (songwriter), Muddy Waters (performer): Hoochie Coochie Man (298-302); Ginger Baker (songwriter), Cream (performers): Toad (302); Georges Delerue: Theme de Camille (302, 307); Ned Washington and Victor Young (songwriters), Ray Charles (performer): Stella by Starlight (305-7); Jimmie Crane and Al Jacobs: Hurt (307); Traditional, The Animals (performers): The House of the Rising Sun (309-10); Willie Dixon (songwriter), Jeff Beck (performer): I Ain’t Superstitious (310-12)

Index Classifications: 1900s, Film

Contributed by: Matthew Van Vleet

A taxonomy of musical borrowing practices in acousmatic music, addressing material sampling and cultural citation in particular, is useful in understanding the genre. Material sampling involves repurposing an object in a new context and can be further broken down into remix, appropriation, and quoting/sampling. The recognizability of the source material is a key concern in interpreting musical borrowing. Cultural citation is a more nuanced concept than material sampling as it borrows abstract ideas. Intertextuality and intermediality are two concerns in cultural citation that can consciously or unconsciously connect different text or media. Franco Degrassi’s Variations of Evan Parker’s Saxophone Solos (2018) offers a reflexive look at a compositional process involving borrowing. The piece remixes the tracks of Evan Parker’s Saxophone Solos CD (2009, originally released in 1976) via MIDI control and digital looping. Variations is a second remediation of Parker’s live musical performance, the first being the initial studio recording done in 1975. Further investigation into cultural citation and material sampling in acousmatic music, especially as they relate to other forms of media, would yield a more complete understanding of the genre.

Works: Pierre Henry: Beethoven’s Tenth Symphony (196), The 10th Remix (196), Par les grèves (196), Dracula, ou La musique trouve le ciel (196); Luc Ferrari: Strathoven (197); John Cage: Imaginary Landscape No. 5 (197); Bruno Maderna: Ritratto di città (197); Denis Dufour: 2007, PH 27-80 (197); Stockhausen: Telemusik (197-98), Hymnen (197-98); Franco Degrassi: Variations of Evan Parker’s Saxophone Solos (201-2).

Sources: Debussy: Prélude à l’après-midi d’un faune (196); Wagner: Der Ring des Nibelungen (196); Iannis Xenakis: Persepolis (196); Evan Parker: Saxophone Solos (201-2).

Index Classifications: 1900s, 2000s

Contributed by: Matthew Van Vleet

In 1948, Britten composed his realization of the The Beggar's Opera. Of the realizations made of this opera, Britten's was the first to use so many of the original songs, sixty-six of the sixty-nine airs. His realizations range from supplying original accompaniments to the development of operatic forms such as melodramas, scenas, and finales based on one or more tunes. The airs as treated by Britten may be classified ino six categories: (1) "Straight setting" (similar to his folksong settings); (2) "Straight settings, but with the phrases of the air spaced apart"; (3) "Straight settings, but with the melody itself treated freely"; (4) "Settings in which the air is worked into an elaborate, but formally concise, musical scheme" (subdivided into numbers with and without chorus); (5) "Settings embodied in larger musical designs" (numbers with introductions and codas based on original material derived from the airs); and (6) "Settings in which two or more airs are used in combination." As part of his settings, Britten was able to retain the original keys of a large number of the airs. He also restored Macheath's role from a baritone, as it had been sung for several years, to the original tenor.

Works: Benjamin Britten: The Beggar's Opera.

Index Classifications: 1900s

Contributed by: Nikola D. Strader

Throughout this thorough examination of Strauss's life and works, musical borrowings are cited in music of every genre in which Strauss composed. There is a separate list of self quotations for Ein Heldenleben in vol. 1, p. 177.

Index Classifications: 1800s, 1900s

Contributed by: Fredrick Tarrant

Ravel himself acknowledged his great debt to the music of Chabrier. There are few works by Ravel which do not to some extent echo one or another work by Chabrier. Some specific allusions are noted. Ravel's harmonic procedures are also influenced by Chabrier.

Works: Ravel: Pavane pour une infante défunte (547), Jeux d'eau (550), "Ondine" and "Scarbo" from Gaspard de la Nuit (550), Alborada del graciozo (550), Rapsodie espagnole (550), Vocalise en forme de habanera (550), La Valse (550), Histories naturelles (551).

Index Classifications: 1800s, 1900s

Contributed by: David C. Birchler

Hip-hop draws influence directly from 1970s African American culture. Many prominent hip-hop artists, including Public Enemy, Ice Cube, and the Fugees, mention this decade in their music as one in which blacks began to assert themselves politically and culturally. This is demonstrated primarily by hip-hop musicians and producers borrowing the music of Blaxploitation films, which often portrayed African American pimps and drug dealers fighting against white authority. Hip-hop borrows musically and culturally from these Blaxploitation films’ introductory theme music for the main characters, politically charged content, and focus on the ghetto. While these films and their music do not uniformly glorify or demonize black poverty, drug abuse, and violence, the hip-hop community has borrowed their material almost exclusively to show street credibility.

Works: Jay-Z: Reservoir Dogs (49); Smoothe Da Hustler: Hustler’s Theme (49); Snoop Doggy Dogg: Doggystyle (52); Dr. Dre: Rat Tat Tat Tat (53); Ol’ Dirty Bastard: Got Your Money (54).

Sources: Isaac Hayes: Theme to Shaft from Shaft (49); Curtis Mayfield: Freddie’s Dead from Super Fly (49); Willie Hutch: Brother’s Gonna Work It Out from The Mack (53); Rudy Ray Moore: The Signifying Monkey from Dolemite (54).

Index Classifications: 1900s, Popular

Contributed by: Nathan Landes

The music of Wagner exerted a strong influence on Elgar. This influence is evident in the thematic cohesion and chromatic harmony of Elgar's music. It is also evident in the many allusions and reminiscences of particular passages in Wagner, listed here in pairs (Elgar/Wagner): (1) Froissart, Op. 19/love duet from Die Walküre and "Prize Song" from Die Meistersinger; (2) The Black Knight, Op. 25/Prelude to Siegfried and "magic sleep" from the Ring; (3) The Light of Life, Op. 29/Act 2/2 and Act 3/2 from Parsifal; (4) Scenes from the Saga of King Olaf, Op. 3O/Die Meistersinger; (5) Te Deum/"trial song" from Die Meistersinger; (6) Caractacus/the "ride of the Valkyries" from Die Walküre, Act 2 from Die Meistersinger, Act 2 from Siegfried, and Tannhäuser; (7) The Dream of Gerontius, Op. 38/start of Parsifal and the "ride of the Valkyries" from Die Walküre; (8) Second Symphony, Tristan (final cadential progression). Most of these allusions are probably subconscious, although Elgar was consciously aware of the significance of Wagner to his creative workings. Wagner had a profound influence on Elgar, especially in his first two periods of composition. Elgar had the opportunity to both hear and perform many of Wagner's works, and Dennison discusses these and Elgar's comments on Wagner in great detail. Many of Elgar's quotations from Wagner only bear superficial resemblance. Very often, however, Elgar uses a Wagnerian leitmotif in passages with similar programmatic or dramatic implications. Elgar is also heavily indebted to Wagner for many compositional techniques. In his later compositions Elgar does not rely on Wagner as often, but sometimes draws specific parallels for dramatic or psychological effect. Dennison includes an appendix of works by Wagner heard or performed by Elgar.

Works: Elgar: The Black Knight, Op. 25; The Light of Life, Op. 29; Scenes from the Saga of King Olaf, Op. 30; Te Deum and Benedictus, Op. 34; Caractacus, Op. 35; The Dream of Gerontius, Op. 38; Second Symphony, Op 63.

Index Classifications: 1900s

Contributed by: David C. Birchler, Will Sadler

Michael Tippett used musical borrowing in his compositions to create extramusical meanings through the quotation of pre-existent music. Many of his works borrow from external and internal sources. His procedures varied from simple quotation within the context of an original work to complex recomposition of another composer's work. He began through the application of variation technique and quotation, as in the Piano Sonata No. 1 and A Child of Our Time, in which he used spirituals, respectively. Beginning in the Divertimento on Sellinger's Round, Tippett placed the pre-existent material in each of the five movements either complete or transformed. Recomposition was applied to two Corelli works in the Fantasia Concertante on a Theme of Corelli. Tippett abandoned such borrowing practices for a substantial period of time, but later returned to them, though tempered by a severe, economic sense, as in The Knot Garden. Tippett then moved into a borrowing practice based on unification in which a web of compositions is thematically connected through self-quotation, beginning with his Symphony No. 4 and continuing into The Mask of Time. Tippett's borrowing techniques consisted of a vast range of dramatic and poetic techniques to create powerful meanings within his compositions.

Works: Tippett: Piano Sonata No. 1 (13), Fantasia on a Theme of Handel (13), A Child of Our Time (13), Suite for the Birthday of Prince Charles (13), The Midsummer Marriage (13), Divertimento on Sellinger's Round (15), The Mask of Time (15, 17-18), Fantasia Concertante on a Theme of Corelli (15), The Knot Garden (16), Songs for Dov (16), Symphony No. 3 (16-17), Triple Concerto (17).

Sources: Tippett: Suite for the Birthday of Prince Charles (13); Byrd: Sellinger's Round (15); Gibbons: Fantasia (15); Veni creator spiritus (15); Corelli: Concerto Grosso Op. 6, No. 2 (15), Trio Sonata Op. 3, No. 4 (15); Schubert: Die liebe Farbe (16); Beethoven: Kennst du das Land? Op. 75, No. 1 (16), Symphony No. 9 in D Minor (16); Wagner: Der fliegende Holländer (16); Mussorgsky: Boris Godunov (16); Tippett: Come Unto the Yellow Sands (16), King Priam (16), String Quartet No. 4 (17), Symphony No. 4 (17-18), Triple Concerto (18); Dowland: I Saw My Lady Weep (18); Monteverdi: Ecco mororar l'onde (18).

Index Classifications: 1900s

Contributed by: Christopher Holmes

Although Thelonious Monk is primarily recognized for his original compositions, a look at his engagement with popular song can yield insight into his musical development during the early 1940s. It was during this time that Monk composed many of his later-recorded originals, and yet as a house pianist at Minton’s, Monk probably spent much of his time playing with other soloists on standard tunes. Monk’s application of idiosyncratic dissonances and tritone substitutions to songs as familiar as Lulu’s Back in Town and There’s Danger in Your Eyes, Cherie go beyond parody or eccentricity. They also cannot be thought of strictly as a modernist revolt against the commercialism of Tin Pan Alley “tunesmiths.” Instead, Monk’s arrangements of standards, both in studio recordings and live performance, can be regarded as interpretations. As such, they expose the seeds of his compositional style and serve as an autobiographical inscription of his Tin Pan Alley roots.

Though it is possible that Monk developed his personal style of composition and then applied that style to standards, it is equally possible that he derives his harmonic style from his reshaping of standards, given that the standards he chose to perform and record often lend themselves to Monk’s preferred reharmonizations. This is the case in his 1971 performance of Gershwin’s Nice Work If You Can Get It, in which Monk aggressively foregrounds dissonances which were subtle in the original. In either case, it benefits our understanding of Monk as a composer to acknowledge his true affection for popular song (as opposed to a modernist revolt against it), and it is likely that this affection is common among other bebop artists as well.

Works: Thelonious Monk (performer): Lulu’s Back in Town [1959 version] (170), There’s Danger in Your Eyes, Cherie [1959 version] (170), Tea for Two [1956 version] (170), Sweet Loraine [1941 version] (171-72), Nice Work if You Can Get It [1941, 1971 versions] (174-77), Ghost of a Chance [1957 version] (177-78), April in Paris [1957 version] (178-83); Charlie Parker and Dizzy Gillespie: Koko (172-73).

Sources: Harry Warren (music) and Al Dubin (text): Lulu’s Back in Town (170); Vincent Youmans (music) and Irving Caesar (text): Tea for Two (170); Cliff Burwell (music) and Mitchell Parish (text): Sweet Loraine (171-72); Ray Noble: Cherokee (172-73); George Gershwin and Ira Gershwin: Nice Work if You Can Get It (174-77); Victor Yang: (I Don’t Stand a) Ghost of a Chance (177-78); Vernon Duke: April in Paris (179-81).

Index Classifications: 1900s, Jazz

Contributed by: Molly Covington

This book examines the development of bebop from artistic, social, and commercial perspectives, beginning in the Swing Era and progressing through the 1940s. The repertory at jam sessions in the early 1940s was based primarily on a few familiar chord progressions, notably the blues, Gershwin's I Got Rhythm, and a handful of other pop song "standards" of which How High the Moon and Whispering were among the most frequently used. The economics of the recording industry promoted the composition of new melodies over existing chord progressions; having a new, colorful title would attract buyers, and by calling it a new work the record company could avoid paying royalties to the copyright owners of the song from which the chord progression was taken. In addition to using existing chord progressions in new songs, bebop musicians often borrowed material from each other and incorporated it into new compositions and arrangements. Moreover, musical borrowing in the form of quotation within improvised solos was both a ubiquitous and a controversial presence in bebop. Charlie Parker frequently inserted clearly recognizable quotations from jazz or popular sources into solos in live performance, but some performers criticized Parker for diluting his music. In other instances, European art music directly influenced jazz: stride pianists used materials from opera or "light classics" in a new idiom. For some bebop musicians, borrowing (or at least recognizing borrowings) was less important. Struggles over the definition of "the work" pervade any discussion of quotation in jazz, and such discussion must recognize the multiple "composers" at work in a jazz performance: the nominal composer who notates a song, and the improviser who re-composes the score in live performance.

Works: Thelonious Monk: The Theme (224), Rhythm-a-Ning (224), 52nd Street Theme (292), Hackensack (403): Dizzy Gillespie: Salt Peanuts (292, 421), Things to Come (433): Coleman Hawkins: Mop Mop (292, 306-7), Rainbow Mist (309), Father Co-operates (326), Bean at the Met (326), On the Bean (330), Stumpy (330), Rifftide (390), Bean Stalking (394), Too Much of a Good Thing (401), Bean Soup (403-5), Hollywood Stampede (404-5); Charlie Parker: Red Cross (307, 374); Benny Harris: Ornithology (323, 382); Howard McGhee: New Orleans Jump (362), Sportsman?s Hop (391, 393); Billy Eckstine: Good Jelly Blues (341-3, 424); Jerome Kern: All the Things You Are (342-43, 424).

Sources: George Gershwin: I Got Rhythm (203, 224, 292, 305, 306-7, 326, 374, 421), Lady Be Good (390, 403); Nancy Hamilton and Morgan Lewis: How High the Moon (305, 323, 326, 382); John Schonberger, Malvin Schonberger, and Richard Coburn: Whispering (305, 330); Edward Heyman, Robert Sour, Frank Eyton, and Johnny Green: Body and Soul (309); Dizzy Gillespie: Salt Peanuts (326-28), Be-Bop (362, 404-5, 433), Groovin' High (403-5); Rachmaninoff: Prelude in C-Sharp Minor (342-43, 424); Igor Stravinsky: Petrouchka (360n); Benny Goodman, Edgar Sampson, Clarence Profit, and Walter Hirsch: Lullaby in Rhythm (391, 393); Jesse A. Stone: Idaho (394); Kay Swift and Paul James: Fine and Dandy (401); Ben Bernie, Ken Casey, and Maceo Pinkard: Sweet Georgia Brown (404-5); Benny Harris: Ornithology (404-5); Vincent Youmans and Irving Caesar: Tea for Two (405); Billy Eckstine: Good Jelly Blues (424).

Index Classifications: 1900s, Jazz

Contributed by: Paul Killinger, Amy Weller

Traditionally, modulation is associated with either key or with metric procedures; however, this term can be expanded to incorporate style. “Style-modulation” occurs when different musical styles within a single work are employed in as controlled a way as any other compositional element. Often popular music, especially genres derived from African-American traditions, incorporate style-modulations. Style-modulation is not necessarily brought about by musical quotations, but often has a direct relationship to them. If a quotation is recognizable and departs from established continuity, it may be an example of a style-modulation, such as the Bach chorale in Berg’s Violin Concerto or Chopin’s Funeral March in Satie’s Embryons Desséchés. A work with many quotations, such as Luciano Berio’s Sinfonia, is not necessarily an example of a style modulation, however, as the quotations do not break from the work’s overall continuity. In twentieth-century works in particular, the moment of style-modulation often creates a force of an epiphany. Charles Ives is a good example of a composer whose music includes style-modulations, especially in pieces such as the Concord Sonata,Country Band March, and the Fourth Symphony.

Works: Ives: Piano Sonata No. 2 (Concord, Mass., 1840-60) (208), Symphony No. 4 (208); Berg: Violin Concerto (210); Satie: Embryons Desséchés (210); Luciano Berio: Sinfonia (210-11).

Sources: Simeon B. Marsh: Martyn (208); Ives: Country Band March (208), String Quartet No. 1 (208).

Index Classifications: 1900s

Contributed by: Chelsea Hamm

Luther's chorale Ein feste Burg represents not only a religious message but also a symbol of the identity of all Protestants. Its many settings reflect both its religious and its cultural impact. Many composers identified with the revolutionary spirit the Reformation and saw the potential of the tune as a symbol of the time and its historical significance. Depending on the political context in which composers used the tune, the meaning of it changed. For example, Meyerbeer used it in Les Huguenots as a gesture to Protestantism, even though the tune was not necessarily a historical emblem for Huguenots. Mendelssohn's symphonic setting added a programmatic element to the tune. Debussy, on the other hand, used the tune in wartime by evoking it as a symbol of German aggression. He juxtaposed the tune with French anthem, La Marseillaise, which musically triumphs over Ein feste Burg in the end. The various settings of the tune also allow it to assume a multifarious spectrum in that it can be meaningful in an ecumenical sense. Essentially, it became a "banner Lied" for faithful believers and critics across centuries of use.

Works: Meyerbeer: Les Huguenots (36); Mendelssohn: Symphony No. 5 in D Minor, Reformation (37-39); Debussy: En blanc et noir (39-40).

Sources: Luther: Ein feste Burg (29-34, 40-41).

Index Classifications: 1800s, 1900s

Contributed by: Katie Lundeen

In Mahler's later works, and in particular his Ninth Symphony, he often employed brief quotations from his songs. He used musical rather than verbal quotations, implying the emotional content of the original rather than directly stating an image. As this "thematic allusion" recurs, it gains greater significance, and its meaning differs at each occurence, a technique that Mahler initiated. An example of this technique is found in the web of "subtle but pregnant interconnections" within the Ninth Symphony, especially highlighting Mahler's reuse of a theme from the final line of Das Lied von der Erde.

Works: Mahler: Symphony No. 9, Symphony No. 5 (70).

Sources: Mahler: Kindertotenlieder (70), Urlicht (70), Das Lied von der Erde (72-77, 101), Symphony No. 3 (92), Symphony No. 8 (93, 101, 104-05); Bruckner: Symphony No. 9 (98).

Index Classifications: 1900s

Contributed by: Susan Richardson

Joan Tower blends borrowed material wither her own compositional voice in her piano concertos Homage to Beethoven (1985) and Rapids (1996), which was later revised in 2013 and renamed Still/Rapids. These works are representative of Tower’s mature compositional style beginning in the 1970s as she turned away from a serial techniques towards a more accessible, energy-driven style. Tower characterizes the influences of older composers on her work as fingerprints and states that her most important musical model is Beethoven. J. Peter Burkholder’s categories of borrowing, particularly modeling, paraphrase, and setting, illuminate how Tower manipulates existing material in Homage to Beethoven. Tower acknowledges that her Homage to Beethoven does not sound like the Beethoven piano sonatas it borrows from, but rather shares their same core idea.

Works: Joan Tower: Homage to Beethoven (1, 4, 12, 14-15, 17-51, 78, 93, 95-98, 100-101, 121-23, 125, 127), Still/Rapids (1-2, 12, 15, 104-121, 123, 125, 127), Rapids (1, 3, 12, 14-15, 52-91, 94-106, 125-27), Black Topaz (9, 13, 94, 100), Petruschkates (12, 39, 78, 93, 97), Breakfast Rhythms I and II (13, 50, 92), Tres Lent (93), Fanfare for the Uncommon Woman (93), Fascinating Ribbons (93), Big Steps (93), Fantasy for Clarinet and Piano (101).

Sources: Beethoven: Piano Sonata No. 17 in D Minor, Op. 31, No. 2 (“Tempest”) (20-23), Piano Sonata No. 21 in C Major, Op. 53 (“Waldstein”) (23-24, 26, 28, 30-31, 40-42, 95, 101), Piano Sonata No. 32 in C Minor, Op. 111 (31-33, 101), Piano Sonata No. 13 in E-flat Major, Op. 27, No. 1 (102); Messiaen: Quatuor pour la fin du temps (50, 93); George Crumb: Vox Balaenae (50); Stravinsky: Petrushka (93); Copland: Fanfare for the Common Man (93); George Gershwin: Fascinatin’ Rhythm (93); Debussy: Préludes, Livre 1, Des pas sur la neige (93); Hugh Williams and Jimmy Kennedy: Harbor Lights (101).

Index Classifications: 1900s, 2000s

Contributed by: Sarah Kirkman

James MacMillan’s use of quotation and allusion in his Fourth Symphony parallels the liturgical order of the Pauline Mass and reflects MacMillan’s approach to Catholic liturgy. The various plainchant and mass movement quotations and allusions MacMillan uses generally follow the order of the mass. The symphony opens with the plainchant introit Os justi meditabitur, which occurs three times throughout the symphony representing the entrance procession, the offertory procession, and the Communion procession. MacMillan quotes the Gloria, Credo, and Sanctus of Robert Carver’s 1506-1513 Mass Dum sacrum mysterium, which MacMillan frames as a touchstone of Scottish Catholic culture against the destructive influence (in MacMillan’s assessment) of the Reformation. The Liturgy of the Word is represented in the symphony by allusions to liturgical-chant formulae punctuated by the Gospel Acclamation Alleluia. For the Liturgy of the Eucharist, MacMillan quotes his own St. Luke Passion, connecting the Passion narrative to its re-enactment in the Mass. MacMillan concludes this self-quotation with an allusion to Wagner’s Tristan und Isolde, a work that MacMillan also alluded to in several earlier compositions. In doing so, MacMillan reads Tristan as a religious work expressing the theme of transcendence of death through self-sacrifice. Despite MacMillan’s public insistence that the symphony is not programmatic, the quotations and allusions from various Masses provide a clear programmatic structure to the work and demonstrate MacMillan’s subjective reactions to the liturgy.

Works: James MacMillan: Symphony No. 4 (640-65), Piano Sonata (661), Symphony No. 2 (661).

Sources: Anonymous: Os justi meditabitur (640-44), Eucharistic Doxology (643, 648), Missa Deus Genitor alme (643-44, 648-49), Missa de Angelis (647-48), Missa Orbis factor (649-51); Robert Carver: Mass Dum sacrum mysterium (645-51); James MacMillan: St. Luke Passion (656-59); Wagner: Tristan und Isolde (659-63).

Index Classifications: 1900s, 2000s

Contributed by: Matthew Van Vleet

Index Classifications: General, 1900s, 2000s, Jazz, Popular

Index Classifications: General, 1900s, 2000s

In his most famous piece, Rhapsodie nègre (1918), composer and white supremacist activist John Powell utilizes the language of primitivist modernism to create a sonic version of Jim Crow racial hierarchy. Primitivist modernists in Europe fixated on depictions of “African” savages closely related to the contemporary pseudoscience of social Darwinism. Powell’s detailed program notes for Rhapsodie outline a primitivist narrative as applied to Black Americans. Musically, Rhapsodie is constructed from five themes used to mark a distinction between blackness and whiteness. The first three themes use ragtime idioms constructed in a repetitive and often disjunct manner to represent Powell’s belief that blackness constitutes a primitive, sexual threat. The fourth theme, a setting of the spiritual Swing Low, Sweet Chariot, begins a dramatic shift in the tone of the piece to one of control and beauty. Powell fills this section with markers of sonic whiteness building to a grand orchestral texture with precisely balanced phrases only to end in a jarring anticlimax. By setting Swing Low in this ostentatious and performative manner, Powell conveys his belief that Black spirituals were ultimately inferior imitations of white Protestant camp songs. The fifth theme is also based on a spiritual: I Want to Be Ready. Unlike the previous section, Powell uses ragtime and proto-jazz textures and harmonies to set the tune, which Powell describes in his program notes as suggestive of the violent sexuality he associates with blackness. The extent of Powell’s racist politics—and consequently the ways his politics shape the caricature of Black music in Rhapsodie—were largely unknown to critics and audience in the 1920s, who generally understood the piece in terms of primitivist modernism and the later symphonic jazz trend, both of which also have problematic relationships with Black music and musicians. The reason that audiences did not hear Powell’s deep-seated racism in Rhapsodie was that modernist art itself was grounded in conceptions of racial hierarchy.

Works: John Powell: Rhapsodie nègre (399, 401, 408-416)

Sources: Anonymous: Swing Low, Sweet Chariot (399, 401, 408-14), I Want to Be Ready (401, 414-16)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1900s

Many different kinds of popular music can create dramatic moments in film, both diegetically and non-diegetically. The temporal aspects of most popular music, its steady beat and generally common time meter, affect the resulting film differently than classical film scoring does. Through creating new popular-style music for films (scoring), editing exiting popular music to fit a film, or editing filmic images to fit existing popular music (tracking), many different techniques and styles are possible. The Beatles, with their pop music films in the 1960s, changed how popular music worked in movies, as well as inherently changing the way film musicals functioned. Although there were earlier films that used popular music, such as King Creole (1958) and Rock Around the Clock (1956), the Beatles’ films were the first where pop music was not mixed with traditional film music techniques; the resulting films were a hybrid of documentary style with the drama of feature films. Different styles of music can accomplish different things; for example, psychedelic music is often used to signify surrealism or drug use, while rap music is used as a dramatic shock tactic and older popular music signifies an earlier time period. Regardless of the type of music or approach, pop music also invites a tension between creativity and commerce that did not previously exist with classical film music techniques.

Works: Joe Massot (director): Wonderwall (5, 19, 39-42, 53, 124); Roger Corman (director): The Trip (5, 34-36, 38, 42-43); Donald Cammell and Nicolas Roeg (directors): Performance (5, 41-42, 53, 93, 122); Albert and David Maysles (directors): Gimme Shelter (5, 63-64, 66-67, 72); Michael Wadleigh (director): Woodstock (5, 64, 66, 72); George Lucas (director): American Graffiti (5, 106, 138-41); Barry Shear (director): Across 110th Street (16, 79, 83, 86); Richard Lester (director): A Hard Day’s Night (19-25), Help! (19, 25-29); George Dunning (director): Yellow Submarine (19, 38-39); John Boorman (director): Catch Us If You Can (22); Mike Nichols (director): The Graduate (33); Woody Allen (director): What’s Up Tiger Lily (33); Richard Rush (director): Psych Out (35, 43); Dennis Hopper (director): Easy Rider (36-37, 53); Bob Rafelson (director): Head (37); Barbet Schroeder (director): More (45, 49-50, 52-56), La Vallée (45, 53, 56); Michelangelo Antonioni (director): Zabriskie Point (45, 52-53, 55, 58); Alan Parker (director): Pink Floyd - The Wall (45, 57); Peter Sykes (director): The Committee (45, 53-54, 58); Peter Whitehead (director): Tonite Let’s All Make Love in London (53); Roy Battersby (director): The Body (55); David Elfick (director): Crystal Voyager (56); Martin Scorsese (director): The Last Waltz (63, 73, 76); D. A. Pennebaker (director): Don’t Look Back (63-66, 72); Gordon Parks (director): Shaft (79, 81, 84, 86-88, 91); Melvin Van Peebles (director): Sweet Sweetback’s Baadasssss Song (79, 81, 84, 86-87); Gordon Parks Jr. (director): Super Fly (79, 81, 84, 86, 88-92); Ossie Davis (director): Cotton Comes to Harlem (81-82); Larry Cohen (director): Black Caesar (81, 90-91); Leslie H. Martinson (director): Batman (105, 107-111); Tim Burton (director): Batman Returns (105, 112-14); Joel Schumacher (director): Batman Forever (105, 114-17), Batman and Robin (105, 115, 117-18); Richard Loncraine (director): Brimstone and Treacle (140); Lawrence Kasdan (director): The Big Chill (141); Bruce Robinson (director): Withnail and I (141); David Green (director): Buster (141-42); Tony Scott (director): Top Gun (143); Michael Mann (director): Manhunter (143); Howard Deutch (director): Pretty In Pink (145); Quentin Tarantino (director): Pulp Fiction (146); Oliver Stone (director): Natural Born Killers (146); Robert Zemeckis (director): Forrest Gump (146); Danny Boyle (director): Trainspotting (148); Nicolas Winding Refn (director): Bronson (150); Wes Anderson (director): The Royal Tenenbaums (150); Abel Ferrara (director): Bad Lieutenant (154-61).

Sources: The Beatles: I Should Have Known Better (21, 24), Tell Me Why (24), If I Fell (24), She Loves You (24), She’s A Woman (26-28), Ticket to Ride (26-27), Help! (27), I Need You (27), The Night Before (27); The Seeds: Two Fingers Pointing at You (35); Strawberry Alarm Clock: Rainy Day Mushroom Pillow (35), Pretty Song from Psych-Out (35); Electric Flag: Flash, Bang, Pow (36); The Monkees: The Porpoise Song (37); The Beatles: It’s All Too Much (39); Pink Floyd: Interstellar Overdrive (53), Careful with that Axe, Eugene (54, 58); Curtis Mayfield: Pusherman (88-89), Freddie’s Dead (88-89); James Brown: Big Daddy (90-91), Down and Out In New York City (90-91), Mama’s Dead (91); Prince: Batman (108-11); Siouxsie and the Banshees: Face to Face (112); The Flaming Lips: Bad Days (115-16); The Offspring: Smash It Up (116); The Coasters: Poison Ivy (118); Goo Goo Dolls: Lazy Eye (118); Moloko: Fun for Me (118); Sting: Spread a Little Happiness (140-41); Marvin Gaye: I Heard it Through the Grapevine (141); Rolling Stones: You Can’t Always Get What You Want (141); Procol Harum: A Whiter Shade of Pale (141); Phil Collins: Groovy Kind of Love (142); Phil Collins and Lamont Dozier: Two Hearts (142); Berlin: Take My Breath Away (143); Kenny Loggins: Danger Zone (143); Shriekback: The Big Hush (143); Iron Butterfly: In-a-Gadda-Da-Vida (144); Robert Gordon: The Way I Walk (147); L7: Shitlist (147); Creedence Clearwater Revival: Fortunate Son (147); Beatles: A Hard Day’s Night (148); Iggy Pop: Lust for Life (148); Schoolly D: Signifyin’ Rapper (154-61); Led Zeppelin: Kashmir (156-59).

Index Classifications: 1900s, Popular, Film

Contributed by: Emily Baumgart

Chapters II ("Musical Symbolism: The Use of Leitmotivic Symbols and Motto Tunes") and V ("The RVW Style as Manifested in This Work") contain information about his use of borrowed materials. Among the materials Vaughan Williams incorporates into the opera are the hymn tunes York and Lasst uns erfreuen and Thomas Tallis's Third Mode Melody.

Works: Vaughan Williams: The Pilgrim's Progress.

Index Classifications: 1900s

Contributed by: Rob Lamborn

Index Classifications: 1900s

Robert Russell Bennett's Porgy and Bess: A Symphonic Picture for Orchestra is similar to his "symphonic synopsis" of Jerome Kern's Show Boat. Bennett did not alter Gershwin's melodies or his orchestration. Bennett did compose new material for the work, in the form of "connective tissue" to link the various sections together. He did not present the excerpts in order, but began with the Second Act, moving to the Third, and finally back to the First and to the well-known songs.

Works: Robert Russell Bennett: Porgy and Bess: A Symphonic Picture for Orchestra (7).

Sources: Gershwin: Porgy and Bess (7).

Index Classifications: 1900s

Contributed by: Marc Geelhoed

Beginning in the early 1960s, Hans Werner Henze began to take a special interest in the music of Gustav Mahler, particularly Mahler's exploration of form, his use of earlier music, and his music's connection to personal experience. It was at this time that Henze began to transition away from the Darmstadt school and move towards a more expressive idiom. This can be seen in Henze's Being Beauteous (1963) and The Bassarids (1965), both of which borrow from Mahler's Fifth Symphony. Being Beauteous draws from the Adagietto of Mahler's Fifth Symphony, and The Bassarids draws from the fourth movement. These intertextual connections exemplify both a transition in Henze's music and also a portrait of how Henze conceived of the importance of Mahler's music.

Works: Hans Werner Henze: Being Beauteous (183-98, 203), The Bassarids (198-204).

Sources: Mahler: Symphony No. 5 (185-93, 199-201).

Index Classifications: 1900s

Contributed by: Kerry O'Brien

The largely forgotten history of the folk song M.T.A. (most famously recorded by the Kingston Trio in 1959) reveals how music can be used as a political tool to popularize radical ideas and how popular culture can purge these radical ideas of their intended meaning. M.T.A. was written in 1949 by the Boston People’s Artists (Sam and Arnold Berman, Al Katz, Jackie Steiner, and Bess Hawes, née Lomax) in support of Massachusetts Progressive Party leader Walter O’Brien Jr. in his campaign for Boston mayor. One of O’Brien’s major positions was a rollback of the fare increase that funded creation of the Metropolitan Transit Authority (M.T.A.) in 1947. While Steiner wrote most of the lyrics, M.T.A. borrowed its tune from The Train That Never Returned by Hawes’s earlier group, The Almanacs, which itself was based on Henry Clay Work’s 1865 song The Ship That Never Returned and Vernon Dalhart’s 1924 song The Wreck of the Old 97. Although O’Brien’s campaign was ultimately unsuccessful (he received just 1% of votes cast in the election), M.T.A. outlived its origins as a campaign song to become a folk standard. The first of a new generation of folk singers to revive M.T.A. was Will Holt, who recorded the song in 1957 and soon after saw it dropped from radio rotation for glorifying the “communist” O’Brien. The Kingston Trio recorded M.T.A. in 1959, adding a spoken introduction, making minor lyric changes, and replacing the reference to the real-life Walter O’Brien with fictional George O’Brien. This new version saw significant commercial success and positive press attention for the Kingston Trio, and it cemented M.T.A. as a folksong classic, especially in Massachusetts. It has since been used by such disparate performers as Celtic punk band the Dropkick Murphys and Republican governor Mitt Romney.

Works: Dropkick Murphys: Skinhead on the M.T.A. (4); Boston People’s Artists, Jackie Steiner (lyricist): M.T.A. (12-16); Almanac Singers: The Train That Never Returned (13-14); Will Holt (performer): M.T.A. (24-26); The Kingston Trio (performers): M.T.A. (26-27)

Sources: Boston People’s Artists, Jackie Steiner (lyricist): M.T.A. (4, 24-27); Almanac Singers: The Train That Never Returned (12-16); Henry Clay Work: The Ship That Never Returned (13); G. B. Grayson and Henry Whitter (songwriters), Vernon Dalhart (performer): The Wreck of the Old 97 (13)

Index Classifications: 1900s, Popular

Contributed by: Matthew Van Vleet

Luther's Ein feste Burg resembles the B-A-C-H motive in that it signifies something outside of its musical character. In addition, Ein feste Burg begins with four memorable notes, comparable not only to the four notes of B-A-C-H but also to the striking four-note opening of Beethoven's Fifth Symphony. Insofar as Ein feste Burg has a broader function outside of its musical characteristics, it epitomizes the powerful and energetic voice of evangelical Christianity, in a tradition began by Luther. Bach felt deeply moved by the religious sentiments of the tune and set it in a cantata with eight movements. Meyerbeer altered the tune more than Bach did and subjected it to various musical treatments, including theme and variations as well as parody, in Les Huguenots. The Romantic generation in particular responded to the tune in various compositional manners, especially by means of reinstrumentation and paraphrase technique, including settings by Mendelssohn, Nicolai, and many others. Wagner set the tune in his Kaisermarsch in order to evoke the sense of driving away the enemy. All of these settings discussed seek to maintain the spirit of the tune. The prolific uses of the tune reinforce the religious connotations that Luther intended. Although the B-A-C-H motive is not specifically associated with a source, many composers, including Schumann, Rimsky-Korsakov, Liszt, and others incorporate it in various ways into their works.

Works: J. S. Bach: Ein feste Burg, BWV 720 (7); Beethoven: Gott ist eine feste Burg, WoO 188 (7); Meyerbeer: Les Huguenots (8); Mendelssohn: Symphony No. 5 in D Minor, Reformation (9-10); Nicolai: Kirchliche Fest-Ouvertüre über "Ein feste Burg" (10); Heinrich Karl Breidenstein: Grosse Variationen über "Ein feste Burg" für Orgel (10); Friedrich Lux: "Ein feste Burg" Konzertfantasie für Orgel (10); H. Schellenberg: Fantasie über "Ein feste Burg" (10); Karl Stern: Präludium und Fuge über "Ein feste Burg" (10); Karl August Fischer: Präludium und Fuge über "Ein feste Burg" für Orgel mit Blasinstrumenten (10); Wagner: Kaisermarsch (11); Raff: Ein feste Burg ist unser Gott, Op. 127 (11-12); Reinecke: Zur Reformationsfeier (12); Heinrich Schulz-Beuthen: Reformationssinfonie (12); Richard Bartmuss: Liturgischen Feiern No. 5, Reformation (13); Heinrich Pfannschmidt: Reformationsfestspeil (13); Hans Fährmann: Fantasie und Doppelfuge für Orgel über "Ein feste Burg ist unser Gott," Op. 28 (13); Reger: Chorale fantasia "Ein feste Burg ist unser Gott" (14), Schumann: Sechs Fugen über den Namen Bach, Op. 60 (16-17); Rimsky-Korsakov: Sechs Stücker über BACH, Op. 10 (17-18); Liszt: Präludium und Fuge über Bach (18-19); Wilhelm Middelschultes: Kanonische Fantasie über BACH und Fugue über vier Themen von J. S. Bach (19); Hans Fährmann: Orgelsonata in B moll, Op. 17 (19-20), Vorspiel und Doppelfuge für Orgel (20); Georg Schumann: Passacaglia und Finale für Orgel, Op. 39 (20).

Sources: Luther: Ein feste Burg (7-8).

Index Classifications: 1700s, 1800s, 1900s

Contributed by: Katie Lundeen

The music of Nicolas Collins, in particular Still Lives (1992) and its orchestration Still (After) Lives (1997), can be understood through the lens of post-humanism as an entanglement between humans, musical material, and machine agents. In Still Lives, Collins hacks a portable CD player to create short skipping loops from a recording of Giuseppe Guami’s Canzon La Accorta a Quattro, emphasizing the accumulated digital errors. Still (After) Lives is an orchestration of Still Lives for chamber ensemble that imitates the CD artifacts acoustically. This transformation adds additional layers of technological engagement, exploiting the limitations of musical notation as a technology. Both versions end with a recitation of a passage from Nabokov’s Speak, Memory that evokes the fluid nature of memory in the technological failures and mishearing of Guami’s Canzon. The blurring between human and technological agency in the composition of Still Lives and Still (After) Lives invites other composers to more closely scrutinize borrowed material.

Works: Nicolas Collins: Still Lives (78-79, 81-83), Still (After) Lives (79-83).

Sources: Giuseppe Guami: Canzon La Accorta a Quattro (78-79, 81-83); Nicolas Collins: Still Lives (78-79).

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

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

Many of Mahler's motives and themes remind us of preexisting musical phrases. They sound familiar already at their first appearance. The musicologist makes it his task to locate these allusions. It is, however, impossible or at least misleading to attempt this. These seemingly borrowed excerpts are rather Mahler's attempt to evoke a "colloquial" sound (umgangssprachlicher Ton) or the impression of déjà vu. The use of military fanfares and posthorns should not be interpreted as quotation, even if Mahler consciously quoted one. What is important is the meaning of the fanfare or the posthorn according to the context in which it is found, not as a quotation but as an event. Eggebrecht, however, also discusses the obvious reuses of material such as "Des Antonius von Padua Fischpredigt" (from the Wunderhorn-Lieder) in the Second Symphony and "Oft denk' ich, sie sind nur ausgegangen" (from the Kindertotenlieder) in the Ninth. All three aspects are of importance for the interpretation and understanding of Mahler's works and enable the author to explain their meaning.

Index Classifications: 1800s, 1900s

Contributed by: Andreas Giger

Index Classifications: 1800s, 1900s

Index Classifications: 1700s, 1800s, 1900s

Index Classifications: 1800s, 1900s

In Petrushka (1911), Renard (1915-16), and The Soldier's Tale (1917-18), Stravinsky uses abstraction and parody to create new dramaturgical forms and musical meanings. The use of abstraction and the view of musical forms (such as ragtime) as archetypes not only affected Stravinsky's style in the 1914-17 period but also paved the way toward his neoclassical style, where it was transformed from mere irony to stylization of the musical material.

Works: Stravinsky: Petrushka,Renard,The Soldier's Tale.

Index Classifications: 1900s

Contributed by: Felix Cox

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

The myth that the black spiritual was completely derived from white folk hymns is one of the most pervasive in the literature about black folk music. Early studies of black folk music such as Richard Wallaschek's Primitive Music (1893) and George Pullen Jackson's White Spirituals in the Southern Uplands (1933) relied solely on transcriptions, a process which does not account for performative and aural contexts of folk music. In effect, these studies mistakenly equated transcriptions with the music as it was performed and thus tacitly assumed that any deviation from the diatonic scale was due to a performer's misinterpretation of music of white origins. These analyses do not account for the process of syncretism which had to have taken place between African- and European-derived musical elements in the development of the black spiritual.

Index Classifications: 1800s, 1900s, Jazz

Contributed by: Amanda Sewell

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

Due to his formal musical training and informal musical upbringing, Billy Joel was equally adept at incorporating both classical and popular styles in his songs depending on the expressive context of the lyrics. Many of his songs deliberately quote popular tunes, while others are either modeled after specific songs, especially by the Beatles, or are modeled after the general style of different popular artists (as shown in the appendix). Likewise, Joel was known to quote classical works in some of his songs, and many other songs exhibit a harmonic or contrapuntal language reminiscent either of classical style in general or of specific classical composers, especially Chopin. These learned and vernacular styles are exemplified particularly in two songs, James (1976) for the learned style and Laura (1983) for the vernacular style, and the personae of these two titular characters reflect the expressive correlations of their particular musical styles.

Works: Billy Joel: Storm Front (106), Lullabye (Goodnight, My Angel) (106), Modern Woman (106), All You Wanna Do Is Dance (106), C'etait toi (You Were the One) (106), Laura (106, 122-24), The Great Suburban Showdown (106), Uptown Girl (106), Captain Jack (107), Scandinavian Skies (107), A Room of Our Own (107), Just the Way You Are (107), Attila (album) (107), Why Judy Why (107), If I Only Had the Words (To Tell You) (107), 52nd Street (album) (107), This Night (110), Leningrad (110), Souvenir (110), The Ballad of Billy the Kid (111), She's Got a Way (111), James (119-22).

Sources: Harold Arlen: Stormy Weather (106); Duke Ellington: Mood Indigo (106); Ethelbert Nevin: Mighty Lak' a Rose (106); John Lennon and Paul McCartney (songwriters), The Beatles (performers): Rubber Soul (album) (106), Here, There, and Everywhere (106), Lucy in the Sky with Diamonds (107), I Am the Walrus (107), Glass Onion (107), I Will (107), Birthday (107), Her Majesty (107); George Harrison (songwriter), The Beatles (performers): Something (107); Beethoven: Piano Sonata in C Minor, Op. 13 (Pathétique) (110); Robert Schumann: Piano Concerto in A Minor, Op. 54 (110); Chopin: Prelude in D-flat Major, Op. 28, No. 15 (110), Prelude in E Minor, Op. 28, No. 4 (111-12); Copland: Appalachian Spring (111).

Index Classifications: 1900s, Popular

Contributed by: Mark Chilla

György Ligeti’s only opera, Le Grand Macabre (1977, revised 1996), an example of grotesque realism, uses many techniques of parody and collage, though such techniques resist categorization because of the vast array of incorporated procedures. An analysis of Le Grand Macabre works to unveil the work’s narrative and meta-musical implications in relation to these techniques of musical borrowing and the relevant source material, suggesting that the work is governed by two different narrative trajectories. Ligeti’s uses of operatic conventions in this opera are related to specific sources and techniques; such conventions suggest that Ligeti assigns distinctive stylistic or timbral idioms to typecast main characters. For example, a parodic strategy via troping of stylistic types from the lover’s duet (Scene 1), which draws on Monteverdi’s L’incoronazione di Poppea; a second example is Piet the Pot’s “drunken” aria (Scene 1), exemplifies the technique of troping incongruous stylistic topics through abrupt shifts in musical discourses, while drawing on Berg’s Wozzeck. All three scenes in the opera share a parallel construction which culminates in a polymetric or polytemporal collage. In each scene, a trope of chaos and deconstruction is established through these collages, which is offset by either buffa elements or pastoral topics. The expressive states of ludicrousness and horror are explored in tandem, culminating in the third movement where the distinction between these two expressive states becomes increasingly blurred. Le Grand Macabre is in some ways an “anti-opera,” because of its overall narrative of ambivalence, which comes about primarily due to the blurring of expressive states. Thus, the aesthetic of this work is not “postmodern” but is better defined as “oppositional” postmodernism, which is concerned with a critical deconstruction of tradition.

Works: Ligeti: Le Grand Macabre.

Sources: Verdi: Falstaff (34-35); Monteverdi: L’incoronazione di Poppea (36); Berg: Wozzeck (36-37); Gluck: Alceste (43); Stravinsky: l’Histoire du Soldat (43).

Index Classifications: 1900s

Contributed by: Chelsea Hamm

Supernatural metaphors are often used to describe the practice of phonographic sampling in hip-hop music in both complimentary and critical ways. By studying magic as performance by stage magicians (such as Penn and Teller) rather than as supernatural phenomena, new parallels emerge between how the two practices create their effect. Both hip-hop musicians and stage magicians rely heavily on the manipulation of time to command the attention of their audiences. The structure of an effective magic trick and hip-hop sampling are also similar in how they turn ordinary materials into something extraordinary. For example, several tracks by acclaimed producers J Dilla and Madlib introduce a relatively unmodified sample before demonstrating their skill in manipulating the sample. Exerting control over music recordings (which in turn exert a kind of magical control over sound) is recognized by hip-hop producers and audiences alike as a kind of “magical” effect. Stage magic scholars categorize subgenres based on the relationship between methods (materials), effects, frames, and the contract with the audience. Hip-hip sampling can be similarly categorized, particularly when considering the affordances of different sampling technologies. Phonographs allow for “real” documentary capture of sounds, multitrack recordings allow for “hyper-real” sonic illusions, and sampling technologies allow for “meta-real” juxtapositions of illusions. Examples of “meta-real” practice include tracks that create the illusion of live turntablism, which in turn creates illusions by juxtaposing “hyper-real” music recordings. It is perhaps the creation of impossible soundscapes through sampling that makes hip-hop so moving. The experience of conflict between rational belief and experiential “alief” (to use Szabo Gendler’s term) is crucial to the magical quality of hip-hop music.

Works: Gang Starr (producer DJ Premier): Code of the Streets (36), Deadly Habitz (36); J Dilla: Lightworks (37); Madlib (as The Beat Konductah): Filthy (Untouched) (37); KRS-One and Marley Marl: Musika (43-44)

Sources: Melvin Bliss: Synthetic Substitution (36); Monk Higgins: Little Green Apples (36); Beside: Change the Beat (36); Steve Gray: Beverly Hills (36); Raymond Scott: Lightworks (37); Vivien Goldman: Launderette (37); Thom Bell: A Theme for L.A.’s Team (43-44)

Index Classifications: 1900s, 2000s, Popular

Contributed by: Matthew Van Vleet

György Ligeti includes in his opera Le Grand Macabre all the stylistic achievements of his earlier orchestral and chamber music works. Some passages that Ligeti himself calls reflections, not quotations allude to Monteverdi, Mozart, Stravinsky, Rossini, Verdi, or Beethoven. They are not inserted as collage-like citations, but represent a reflective retrospection on the operatic genre.

Index Classifications: 1900s

Contributed by: Andreas Giger

Index Classifications: 1900s

Among the various works in his oeuvre, composer Robin Holloway has both affirmed and denied certain instances of musical borrowing, yet Holloway may use more instances of borrowing then he openly acknowledges. For example, he often uses melodic tags, which are short quotations. When melodic tags share similarities, Holloway can play upon the similarities to make the tags more ambiguous. This technique, which can alter meaning, is called "punning." Another technique, "suppressed vocalization," involves setting poetry to melodic lines and then transferring the melodic lines, without words, to instruments. As listeners we are often unaware of such transferences and can only become aware of them if Holloway admits to using the procedure. These two techniques should also be considered in light of Holloway's narrative and extramusical subjects. For instance, the loose narrative base of William Langland's poem Piers Plowman, an allegory of the world as a working field, in the Fourth Concerto for Orchestra led to Holloway's quotation of Eric Coates's song Calling All Workers. Although quotations of Sheherazade and Daphnis et Chloé in the Fourth Concerto do not share themes with Langland's poem, they are favored works of the concerto's commissioner, Michael Tilson Thomas. Investigating relationships such as these, along with Holloway's various borrowing techniques, will help uncover the multiple layers of and connections between his works.

Works: Robin Holloway: Second Concerto for Orchestra (2-5), Fourth Concerto for Orchestra (2, 6-9), Symphony (3-7).

Sources: Hubert Parry: Jerusalem (3-4); Eduardo di Capua: O sole mio (3); Renato Rascel: Arrivederci Roma (3); Sibelius: Symphony No. 4 in A Minor (3); Mahler: Symphony No. 9 in D Major (3-4); Ravel: Daphnis et Chloé (3-4); Richard Strauss: Salome (3-4), Elektra (3-4); Elgar: "Nimrod," Enigma Variations (3-4); Scriabin: Poem of Ecstasy (3-4); Debussy: Jeux (3-4), La Mer (3-4); Schoenberg: String Quartet No. 1 in D Minor, Op. 7 (3-4); Stravinsky: The Rite of Spring (3-4); Robin Holloway: First Concerto for Orchestra (5), En Blanc et Noir (6); Rimsky-Korsakov, Sheherazade (6); Eric Coates, Calling All Workers (6).

Index Classifications: 1900s, 2000s

Contributed by: Laura B. Dallman

[Includes lists of quotations and allusions.]

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: 1900s

Italian composer Bruno Maderna was one of the many composers who joined Darmstadt’s Summer Schools in the Castle of Kranichstein, where his music was programmed for public performances. Two of Maderna’s piano works for four hands are of major interest in this context: Concerto per due pianoforte e strumenti, and Fantasia per due pianoforte (B. A. C. H. Variationen für zwei klaviere). Although the Concerto was performed first, there are indications that the Fantasia was composed before the Concerto. Nonetheless, both are derived from the same model: Bartók’s Sonata for Two Pianos and Percussion. The Concerto features percussive idioms, suggesting a relationship to Bartók’s work, which was known in Italy during this time. The Fantasia exhibits an ostinato figure derived from the B-A-C-H. motif, which is reminiscent of Bartók’s use of ostinato.

Works: Bruno Maderna: Concerto per due pianoforte e strumenti (15-18), Fantasia per due pianoforte (B. A. C. H. Variationen für zwei Klavier) (15-20).

Sources: Bartók: Sonata for Two Pianos and Percussion, Sz. 110 (18); Johann Sebastian Bach: Vor deinen Thron tret’ ich hiermit, BWV 668 (20).

Index Classifications: 1900s

Contributed by: Nicolette van den Bogerd

The music of Luigi Dallapiccola has been shaped by his many political, musical, and poetic experiences as a young composer in the northeastern corner of Italy and later in Florence during the two world wars, the most tumultuous years of the twentieth century for western Europe. His compositions are full of textual and musical allusions to the past both distant and recent. His music includes allusions to Wagner, Webern, Schoenberg, Bach, Monteverdi, and Berg among many others. Yet his practice of self-borrowing is prevalent as well, especially later in his career. The greatest example of this is his full-length opera Ulisse (1968), which makes reference to at least six of his previous works in addition to its use of compositional techniques typical of Monteverdi, Wagner, and Bach. Preceding this work is a companion instrumental piece entitled Three Questions with Two Answers (1962-63), which introduces the opera's fundamental tone rows and foreshadows some of its most prevalent musical and philosophical themes. The rapport between Dallapiccola's music and that of his predecessors as well as his practice of self-borrowing imply a theme of constant retrospection and self-analysis in his artistic career.

Works: Dallapiccola: Tre laudi (33-45, 242-45), Volo di notte (38-49, 242-45), An Mathilde (193-97, 242-45), Three Questions with Two Answers (224-31), Ulisse (224-52), Il prigioniero (239-45), Cinque canti (242-45), Canti di liberazione (242-45).

Sources: J. S. Bach: The Well-Tempered Clavier (14, 158), The Art of Fugue (157); Dallapiccola: Tre laudi (33-45, 242-45), Volo di notte (38-49, 242-45), Il ritorno d'Ulisse in patria (72-73, 232-35), An Mathilde (193-97, 242-45), Three Questions with Two Answers (224-31), Il prigioniero (239-45), Cinque canti (242-45), Canti di liberazione (242-45); Monteverdi: Orfeo (245-47).

Index Classifications: 1900s

Contributed by: Elizabeth Elmi

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: General, 1900s

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: General, 1800s, 1900s

Index Classifications: 1900s

Index Classifications: 1900s

George Gershwin’s opera Porgy and Bess exists as a concert piece in several arrangements, but the most popular is Robert Russell Bennett’s Symphonic Picture, composed under the direction of Fritz Reiner and shaped by his involvement in the project. Gershwin’s own five-movement Suite from Porgy and Bess was prepared and performed between 1936 and 1937 to promote upcoming productions of the opera. However, Gershwin’s Suite was virtually unknown between in 1937 and 1959, when it was “rediscovered” and renamed Catfish Row. Symphonic Picture on the other hand was a project developed by Reiner, who selected the excerpts and order of the medley and engaged Bennett, a work-for-hire arranger and long-time Gershwin associate, to orchestrate Picture in 1942. In its orchestration, Picture presents an arrangement more agreeable to symphonic standards, with Bennett removing the instrumental doubling associated with commercial orchestration. Bennett also adds significantly more transition material between sections than Gershwin’s Suite contains. Furthermore, Picture was arranged with recording specifically in mind; Reiner’s outline specified a duration of twenty-four minutes to fit on three twelve-inch 78-rpm discs. The popularity of Picture over the Suite is also apparent in the performance, recording, and reception histories of each piece.

Works: George Gershwin: Suite from Porgy and Bess / Catfish Row (104-10); Robert Russell Bennett (arranger): Symphonic Picture (104-7, 110-21)

Sources: George Gershwin: Porgy and Bess (104-21)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Das himmlische Leben, a Wunderhorn text-setting from Mahler's Fourth Symphony, provides much of the material for that work, and portions of it were incorporated into the first and third movements of the Third Symphony. It was originally to be included in the Third Symphony as its final movement, and, later, as its second movement, though Mahler ultimately changed his mind about both ideas. The fifth, choral movement of the Third Symphony was originally to be part of the Fourth. These changes of mind and heart show the composer's inspiration coming from a single source that resulted in two very different symphonies.

Works: Mahler: Symphony No. 3 in D Minor (90-102), Symphony No. 4 (95-96, 99-100), Symphony No. 5 in C sharp Minor (102, 107), Symphony No. 10 (102), Symphony No. 9 (103).

Sources: Mahler: Des Knaben Wunderhorn (90-107).

Index Classifications: 1800s, 1900s

Contributed by: Marc Geelhoed

ORCH5, a digital sample of a single chord from Igor Stravinksy's Firebird created on the Fairlight Computer Musical Instrument, became one of the first recognized samples used in popular music. It was used as a sample in some eclectic electronic music in the early 1980s, but gained fame as the orchestral sound that began Afrika Bambaataa's seminal 1982 song Planet Rock. This song also prominently samples music from the German electronic group Kraftwerk, including a chromatic Weltschmerz theme from their song Trans Europe Express. Taken together, these two samples--a digital orchestral sound and a melody with intentional commentary on the decay of German music--create some unintended resonances of the decline of classical music in the Western world. While the use of ORCH5 in Planet Rock signals the decay of classical music in popular culture, the sample is also given new life by being appropriated into both the Afro-futurist movement and especially the early stages of hip-hop sampling, where it is used in the same capacity as a DJ's vinyl scratch.

Works: Kate Bush: The Dreaming (343); The Art of Noise: Close (to the Edit) (343); Afrika Bambaataa &the Soulsonic Force with Arthur Baker and John Robie: Planet Rock (343-54).

Sources: Stravinsky: The Firebird (341-54); Kraftwerk: Trans Europe Express (344-54), Numbers (344-54).

Index Classifications: 1900s, Popular

Contributed by: Mark Chilla

Barry Manilow and Adrienne Anderson wrote two versions of the 1975 hit "Could it be Magic." The first version was intended for the LP and FM radio airplay, while a substantially shortened second version was intended for a 45 single and AM radio airplay. "Could it be Magic" quotes intact a substantial amount of Chopin's Prelude Op. 28, No. 20 in C minor; the first version of the song begins with measures one through eight of the prelude and ends with measures nine through thirteen of the prelude. There are several possible reasons for quoting Chopin: this could be simply another example of the growing number of rock musicians who quote classical music; the composers seem to share a fascination for modal ambiguity with Chopin; Chopin's preludes have become part of a narrow canon of classical music known to composers of all musical genres; and the constant demand for novelty in the popular music industry has encouraged popular music artists to draw from other styles to ensure quick composition. The two versions of Manilow's song allow us to examine how a popular artist responds to the demands of different media.

Index Classifications: 1900s, Jazz

Contributed by: Felicia Miyakawa

Ives's Concord Sonata is probably modeled on monumental piano sonatas by Beethoven and Liszt. More specifically, Ives borrowed a motive from Brahms's Second Piano Sonata, Op.2, perhaps intentionally. In its basic form the motive consists of a three-note scale fragment followed by a downward leap of a fifth. William S. Newman has remarked that the Brahms motive reduces to this same basic motive. Ives may have borrowed intentionally, since his teacher Horatio Parker idolized Brahms and since Brahms themes and influences occur in other works by Ives. Also, Ives called the Concord Sonata his second even though he had already written two (he wrote the Three-Page Sonata in 1905).

Works: Ives: Second Piano Sonata ("Concord")

Sources: Brahms: Second Piano Sonata, Op.2.

Index Classifications: 1900s

Contributed by: Daniel Bertram

Index Classifications: 1900s

Index Classifications: 1900s

The score to Edgar G. Ulmer's 1945 film Detour exemplifies the duplicitous portrayal of women through the employment of music that strongly evokes nostalgia and longing. Detour belongs to the 1940s detective film genre known as film noir, which often uses music to support references to the past. Flashback narrative structures are commonly used in film noir to explain the present or the film as a whole. Women are often portrayed in this genre as either the good and wholesome virgin-mother or as the undermining villainous beauty. The song "I Can't Believe That You're in Love with Me," by Jimmy McHugh, becomes a reoccurring leitmotif for nostalgic references to the character's past throughout the film, played on the jukebox and later scored off-screen by blending from the song to a Brahms lullaby. "I Can't Believe That You're in Love with Me" is especially effective at evoking nostalgia as a 1927 Tin Pan Alley song, performed by Count Basie, Earl Hines, Ella Fitzgerald, and Bing Crosby; the 1945 filmgoers recognized the tune not as a current hit, but one of the past. Brahms's Waltz in A flat, Op. 39, No.15, is used to signify the intensification of the obsession with nostalgia as the villainous heroine abandons the detective. Home Sweet Home is later used to reinforce the sense of nostalgia as the detective is reunited with the heroine.

Works: Leo Erdody: score to Detour (19).

Sources: Jimmy McHugh: I Can't Believe That You're in Love with Me (20); Brahms: Waltz in A flat, Op. 39, No. 15 (23); Henry R. Bishop: Home Sweet Home (23).

Index Classifications: 1900s, Film

Contributed by: Kathleen Widden

Index Classifications: 1900s

Floros discusses three main elements of Mahler's music with the aim of a philosophical or programmatic interpretation: form and formal procedures; the use of specific genres such as chorale, pastorale, march, scherzo, and dancelike movements; and interpretation of symbols. All the elements are interpreted in the context of other composers, especially Berlioz, Liszt, and Bruckner. In interpreting the first two categories, Floros focuses on Mahler's position in the history of music. But in the third category, by locating the same musical symbols (e.g. the tonisches Symbol des Kreuzes in Liszt and Bruckner; see also Floros, Gustav Mahler III: Die Symphonien, 1985) in works of other composers where the meaning is clear, Floros can offer interpretations that would otherwise be impossible. Without the interpretation of symbols, no real progress in musicology is possible.

Index Classifications: 1800s, 1900s

Contributed by: Andreas Giger

Floros's study of Mahler's music is an attempt to interpret it comprehensively, taking into account especially Mahler's intellectual background. In these semantic analyses, the author discusses borrowings and quotations of all sorts: (1) quotations of tunes and their integration into compositions (e.g. Bruder Martin in the First Symphony), (2) borrowings of complete sections (e.g. in the Second Symphony), (3) reuse of whole songs (e.g. Urlicht in the Second Symphony), and (4) quotation of short motives (such as the beginning of Dies irae or Liszt's tonisches Symbol des Kreuzes ["sounding" symbol of the cross]) to symbolize titles or programs. Decoding these borrowings is one of the most important steps in finding the program that is the basis even of the purely instrumental symphonies. Above all, some passages can be interpreted by comparison to similar passages from works by Richard Strauss where their meaning is clear. These comparisons may throw light on composition dates, for instance that of the Scherzo of the Sixth Symphony.

Index Classifications: 1800s, 1900s

Contributed by: Andreas Giger

Among several devices mentioned in this article which have been used for humorous effect in music is quotation. Various means of achieving humor through quotation are by paradox, pun, parody, and exploiting the historical significance of the music quoted, all of which assume previous knowledge on the part of the listeners of the music being referred to.

Works: Beethoven: Es war einmal ein König, der hatt' einen grossen Floh (693); Chabrier: Souvenirs de Munich (692); Debussy: "Golliwog's Cake Walk," from Children's Corner (691); Falla: The Three-Cornered Hat (692); Saint-Saëns: Le Carnaval des Animaux (690); Satie: Sonatine bureaucratique (695).

Index Classifications: General, 1800s, 1900s

Contributed by: Rob Lamborn

Mahler scholarship occasionally invokes the term “Kapellmeistermusik” to describe the eclecticism and variety in the composer’s music. This eclecticism, which resulted in part due to Mahler’s background as a conductor, is commonly assumed to be intentional, implying that Mahler deliberately quoted other works for listeners to identify and interpret. But Mahler’s eclecticism, and the relationships between his own music and existing works, can be far more complicated than is often assumed. Some of the parallels between Mahler’s works and those of other composers may have been coincidental, and in other cases Mahler may have “unconsciously” referenced an existing piece because he was familiar with it. Although one can identify several correspondences and quotations from other works in Mahler’s music, some are more likely to be intentional (either consciously or unconsciously) than others. Additionally, a case for borrowing in Mahler’s works cannot be made based on musical analysis alone, as other kinds of supplemental evidence can either reinforce or undercut the possibility of a connection between pieces. One can argue, for example, that Mahler could have borrowed a melody from Liszt’s Piano Concerto in E-Flat Major for his Sixth Symphony, given the close similarities between the two themes and the strong likelihood that Mahler knew Liszt’s concerto as both a pianist and conductor. On the other hand, the parallels between Schubert’s song Mainacht, D. 194, and the first song of Mahler’s Lieder eines fahrenden Gesellen are likely coincidental, as Mainacht was first published posthumously in 1894, almost a decade after Mahler composed his song cycle. Some possible borrowings from works by Berlioz, Chabrier, and Bizet require further research but may be significant.

Works: Mahler: Symphony No. 4 in G Major (10), Symphony No. 3 in D Minor (10), Symphony No. 6 in A Minor (“Tragic”) (10-11), Symphony No. 1 in D Major (“Titan”) (11), Das klagende Lied (11, 13), Lieder eines fahrenden Gesellen (11-12), Symphony No. 7 (13), Symphony No. 10 (13), Symphony No. 2 in C Minor (“Resurrection”) (13-14), Symphony No. 9 (13, 15-16), Symphony No. 5 (16).

Sources: Schubert: Piano Sonata in E-flat Major, D. 568 (10), Piano Sonata in D Major, D. 850 (10), Liszt: Spanish Rhapsody, S. 254 (10); Brahms: Symphony No. 1 in C Minor, Op. 68 (10); Beethoven: String Quartet in F Major, Op. 135 (10); Liszt: Piano Concerto No. 1 in E-flat Major, S. 124 (10-11); Schubert: Piano Sonata in A Minor, D. 784 (11); Chopin: Ballade in G Minor, Op. 23 (11); Schubert: Mainacht, D. 194 (11-12); Mozart: Symphony No. 36 in C Major, K. 425 (“Linz”) (12); Weber: “Schreckensschwur” Aria from Oberon (12); Wagner: Siegfried (13), Die Meistersinger von Nürnberg (13); Bruckner: Symphony No. 9 in D Minor, WAB 109 (13); Berlioz: Les francs-juges, H 23 (13-14); Chabrier: Gwendoline (13, 15-16); Bizet: L’Arlésienne (16).

Index Classifications: 1800s, 1900s

Contributed by: Matthew G. Leone

African-American music has continually used the troping of texts in blues, jazz, and other popular traditions. Two examples of troping occur in the use of the spiritual "Sometimes I Feel Like a Motherless Child" and the riding train. Troping of the spiritual has occurred on the textual and musical level. Furry Lewis tropes the idea of a motherless child in his piece "Big Chief Blues." Washington "Bukka" White also creates his trope relating to the motherless child in "Panama Limited" while singing about being far from home. Musical troping can be found in George Gershwin's repetition of the tune of "Sometimes I Feel Like a Motherless Child" in the piece "Summertime" from the opera Porgy and Bess. Gershwin tropes the spiritual's intervallic structure, rhythm, melodic structures, and beat structure throughout "Summertime." David Baker and Olly Wilson also trope the music and text of "Sometimes I Feel Like a Motherless Child." The train trope deals in the sounds created by a passenger train throughout the United States. Duke Ellington's composition "Happy-Go-Lucky-Local" tropes the passenger train through its use of chugging rhythms, whistles, and sounds of steam locomotives through orchestration. These tropes display an evolution in African-American music through repetition and revision of texts and music.

Works: Traditional: Big Chief Blues as performed by Furry Lewis (36-37); White: Panama Limited (37); Gershwin: "Summertime" from Porgy and Bess (37-43); Baker: Through This Vale of Tears (43-44); Wilson: Sometimes (44-45); Ellington: Happy-Go-Lucky-Local (46-47); Logan: Runagate Runagate (47-50).

Sources: Traditional: Sometimes I Feel Like a Motherless Child (35-45).

Index Classifications: 1900s, Popular

Contributed by: Matthew Altizer

Both musical and literary quotations are present in Berio's work. In Laborintus II, quotations are drawn from Dante, Pound, the Bible, Eliot, and Sanguineti; furthermore, an added text recalls a work by Isidore of Seville. The texts are presented in collage technique. In Sinfonia, musical and literary collage is involved. The third section is primarily based on Mahler's scherzo of the Second Symphony for the musical and on writings of Beckett for the textual continuity. The fifth section presents a collage of elements from the previous sections. Another work in which musical and textual collage is present is Recital I (for Cathy).

Index Classifications: 1900s

Contributed by: David C. Birchler

Forte mentions the relationship between the second song of the Kindertotenlieder and the Adagietto of the Fifth Symphony.

Index Classifications: 1900s

Contributed by: David C. Birchler

In composing his serialist works, Messiaen suffered from an anxiety of Viennese influence, manifested as a strong desire to show how his serial methods can produce a totally different music from that of the Second Viennese School. However, certain aspects of Messiaen’s serial music are modeled on famous Viennese dodecaphonic works, as both similarities to and distinctive differences from these works may prove. Livre d’orgue, a set of seven pieces for organ, provides a good case study for these modeling procedures. For example, a significant difference from the Second Viennese School in the first movement is that his serial permutations are not the four “classic” order transformations (prime, inversion, retrograde, and retrograde inversion); instead, Messiaen uses other permutations which do not necessarily include the whole row, permutations that are unique to his work. This demonstrates that Messiaen was going out of his way to avoid serial techniques of the past, which is confirmed in excerpts from Messiaen’s writings. An example of a similarity to Viennese dodecaphonic music can also be found in the first movement. Several trichords and hexachords, as well as their permutations, specifically evoke the music of Bartók and Webern. Furthermore, certain large-scale permutations evoke the first section of Berg’s Wozzeck as well as the second movement of Webern’s Symphony, Op. 21. This demonstrates that Messiaen was still influenced by the music of these composers, which he knew well.

Works: Messiaen: Livre d’orgue (5-29).

Sources: Berg: Wozzeck (23); Webern: Symphony, Op. 21 (23).

Index Classifications: 1900s

Contributed by: Chelsea Hamm

In an interview Foss discusses his Phorion (Greek for "stolen goods") as a "controlled chance" composition based on the prelude from J. S. Bach's Partita for Solo Violin in E. Designed so that each performance is unique, the work incorporates Morse code and instructs performers to "race" each other through technically challenging passages of Bach's music. Foss also discusses critical reaction, including a German orchestra that took a vote on whether to perform the "desecration" of Bach, prompting Foss to observe that "the Germans are a very tender and sensitive people." (Foss, a Jew, left Germany as a refugee in 1933.) Bach is not harmed by Phorion; his music exists intact independently of its treatment in this work. If audiences are uncertain how to respond, that is Foss's intent. Violence in art, such as Foss is committing here, in fact communicates a message of non-violence.

Index Classifications: 1900s

Contributed by: David Lieberman

Pietro Mascagni's Cavalleria rusticana is integrated into The Godfather Part III in complex ways. Coppola uses music from Cavalleria rusticana in a scene in which the opera is attended in addition to exploiting traits of opera on other levels. The opera appears in three levels within the narrative of the film: a literal level, a cultural level, and a dramatic level. The literal level is achieved through the usage of the diegetic, staged opera within the film. At this level, Coppola uses the opera aurally and rearranges it for cinematic effect. The Preghiera develops multiple meanings within the context of the film, from a contrast of faith/harmony with murder to religious ceremony in opera. The themes of ritualism and violence in the opera also parallel the film. The cultural level depicts opera as a cultural artifact that permeates life, an example of which is the arrangement of "Va, pensiero, sull'ali dorate" from Verdi's Nabucco, which functions as a cultural icon of Sicily as well as a portrayal of the character Michael's relationship with Sicily. The dramatic level adapts operatic structure, appearance, and narrative to the film as a whole.

Works: Francis Ford Coppola (director): Sound track to The Godfather Part III.

Sources: Pietro Mascagni: Cavalleria rusticana (31-45); Verdi: Nabucco (37-39).

Index Classifications: 1900s, Film

Contributed by: Karen Anton Stafford

Isadora Duncan’s dances set to the music of Beethoven and other German composers greatly dismayed the German musical press, who saw her appropriation of classical music as threatening the barriers between high musical art and common vaudeville entertainment. When Duncan performed in Germany from 1902 to 1904, she achieved great public success and enthusiasm for her barefoot dancing style. Duncan’s aim of elevating the art of dance was often met with derision in certain press circles who framed her work as pretentious. Theater composer Oscar Straus’s contribution to the vaudeville dance-satire Die Tugendglocke lampoons Duncan’s intrusion into classical music spheres. His parody became so popular that he created a piano arrangement of the scene, titled Isadora Duncan: Musikalische Parodie. Several famous themes from great (mostly German) composers are deformed and combined with a simplistic “eins, zwei, drei” dance theme. The understanding of this parody necessitates the audience knowing of Duncan’s dances as well as the backlash she received in critical circles. Duncan was particularly vilified in the German classical music press—among her harshest critics was composer Max Reger—for her use of Beethoven’s music, often described in the sexist terms of “corrupting” the masculine ideal of German high art. This reaction underscores the transgressive nature of Duncan’s dance.

Works: Edmond Diet, Julius Einödshofer, Curt Goldmann, Max Schmidt, O. Translateur, and Oscar Straus: Die Tugendglocke (90); Oscar Straus: Isadora Duncan: Musikalische Parodie, Op. 135 (90-99)

Sources: Edmond Diet, Julius Einödshofer, Curt Goldmann, Max Schmidt, O. Translateur, and Oscar Straus: Die Tugendglocke (90); Wagner: Tannhäuser (93-99); Gluck: Orfeo (93-99); Chopin: Polonaise in A-flat Major, Op. 53 (93-99); Beethoven: Piano Sonata in C-sharp Minor, Op. 27, No. 2 (“Moonlight”) (93-99); Johann Strauss: On the Beautiful Blue Danube (93-99)

Index Classifications: 1900s, Popular

Contributed by: Matthew Van Vleet

Index Classifications: 1900s

Brahms's influence on the composers of the succeeding generation has often been slighted or eclipsed by the "white heat" of Wagner's effect on the same artists. Traces of Brahms are apparent in many late-nineteenth-century composers ranging from Herzogenberg, who plagiarized his oeuvre, to Reger and Schoenberg, who were both indebted to him for pianistic models.

Works: Herzogenberg: Symphony No. 1 in C Minor (2); Reger: Resignation (3).

Index Classifications: 1800s, 1900s

Contributed by: Elisabeth Honn

Max Reger developed an aesthetic of historicist modernism that placed J. S. Bach as the primary model. With the introduction of the Neue Bach-Gesellschaft and similar events around 1900, the nineteenth-century trend viewing Bach as the embodiment of the German musical spirit intensified. Part of this trend included emphasizing Bach’s melodic art, which was held to be more useful to modern composers than his counterpoint. Reger was an active participant in this trend of Bach discourse in several areas, including producing many arrangements of Bach’s music. Reger’s form of modernist historicism also manifests in his prolific composition of organ works and avoidance of symphonic poems and music dramas. Reger’s 1895 First Organ Suite, Op. 16, dedicated to the memory of J. S. Bach, draws on several historical models. Most notably, Reger borrows several chorales famously set by Bach, but he alludes to Brahms’s Fourth Symphony and Joseph Rheinberger’s Organ Sonata No. 8 as well. Variations and Fugue on a Theme of Bach, Op. 81 (1904), offers a more complex form of historicism, but one still rooted in the music of Bach. For its theme, Reger uses the opening ritornello of the aria “Sein’ Almacht zu ergründen” from Bach’s Cantata Auf Christi Himmelfahrt allein, BWV 128. Throughout the fourteen variations, Reger develops the theme in two styles: strict–past and free–present with the fugue combining these styles. The work represents Reger’s nuanced awareness of historical time and documents his historicist modernism.

Works: Reger: Suite for Organ in E Minor, Op. 16 (301-307), Variations and Fugue on a Theme of Bach, Op. 81 (308-12)

Sources: J. S. Bach: Passacaglia and Fugue in C Minor, BWV 582 (303), O Mensch, bewein dein Sünde gross, BWV 622 (303), Aus tiefer Not from Clavierübung, BWV 686 (305), Auf Christi Himmelfahrt allein, BWV 128 (308-12); Rheinberger: Organ Sonata No. 8, Op. 132 (307); Brahms: Symphony No. 4 in E Minor, Op. 98 (307)

Index Classifications: 1800s, 1900s

Contributed by: Matthew Van Vleet

[Addresses sampling and other recent borrowing issues.]

Index Classifications: General, 1900s

There is no straightforward way to assign operas as “nationalist” or “non-nationalist” when considering the categorization of Russian operas, and methods that attempt to do so are unreliable or based on mystification. Instead, the older concept of “local color” should be revived in scholarly discourse. There are six categories of assigning Russianness in music: by intention, by reception, by interpretation, by association, by blood or culture, or by school. Assigning Russianness by culture or by school can lead to conflicting claims about many operas as well as scholarly misconceptions. An example of this is Rosa Newmarch’s misreading of the Minstrel’s Song from Tchaikovsky’s Maid of Orleans as a Ukrainian tune that would be incongruous to the French setting, rather than the French song it actually is. To nineteenth-century Russian opera composers like Rimsky-Korsakov, the concept of local color was both familiar and important to the construction of their work. Operas taking place outside of Russia or dealing with universal themes often avoided Russian coloring. Tchaikovsky in particular developed a sophisticated sense of period coloring in The Queen of Spades, quoting appropriate French and Russian anthems. Approaching Russian opera through the lens of local color, disparate “nationalist,” “non-nationalist,” and “symbolist” operas can be compared side-by-side.

Works: Tchaikovsky: The Maid of Orleans (117-18), The Queen of Spades (129)

Sources: Anonymous: Les belles amourettes (117-18); André Grétry: Richard Coeur-de-lion (129); Eustache de Caurroy: Vive le Roi Henri IV (129); Osip Kozlovsky: Grom pobedy razdavaysya (129)

Index Classifications: 1800s, 1900s

Contributed by: Matthew Van Vleet

One of the most striking elements in Debussy's wartime compositions, including the piano sonata En blanc et noir and the song Noël des enfants qui n'ont plus de maison, among other pieces, is his tendency to politicize his music. He wrote during a time in which the French government had great control over cultural products, and his musical language reflects this. Accompanying this polemic are notable instances of borrowing in En blanc et noir and Noël des enfants. Debussy dedicated the second movement of En blanc et noir, "Lent et sombre," to his friend Lt. Jacques Charlot, who was killed in World War I. In order to create a solemn character, Debussy used nonfunctional and static harmonies, evoking a "funeral drone." In doing so, he stylistically alluded to the Renaissance tombeau, a piece to mourn the dead, often used by Clément Janequin. Further, he used Luther's hymn Ein feste Burg within a discordant setting, deliberately removing it of its triumphal qualities. In Noël des enfants, Debussy also used stylistic allusion, in this case to Schubert, by recalling the "menacing" and "ironic" character of Erlkönig. He evoked the spirit of Schubert's song by using a child as the subject of the song and by composing a fast-paced, vigorous accompaniment. In addition, Debussy employed structural modeling by basing the song on a Lied. His instances of borrowing serve a larger role within the political framework of the French republic.

Works: Debussy: En blanc et noir (216-20); Noël des enfants qui n'ont plus de maison (220).

Sources: Luther: Ein feste Burg (218-19); Schubert: Erlkönig (220).

Index Classifications: 1900s

Contributed by: Katie Lundeen

The legality of sampling in hip-hop and other musical genres has been understood through two models of copyright law: the “pure market substitute” model and the “market enhancement” model, which better serves the goal of copyright law. Sampling case law in US federal courts hinges on the applicability of fair use, the right to use copyrighted material without permission, which in turn is decided primarily by looking at market harm and transformative use. In hip-hop, the cultural importance of sampling as signifying is at odds with copyright law and the system of licensing, both of which favor copyright holders. Campbell v. Acuff-Rose Music (1994) applied a transformative use test to rap group 2 Live Crew’s parody of Roy Orbison’s Oh, Pretty Woman and found it to be fair use. Since then, some courts have used the pure market substitute model, ruling that fragments of sound recordings are protectable derivative elements. Other cases have taken a broader view on fair use, ruling that audiences for different musical genres (hip-hop and jazz in the case of Abilene Music v. Sony Music Entertainment, 2003) are distinct enough that market harm is mitigated. The market enhancement model shifts away from this framework. Some courts have ruled that sampling can enhance the marketability of the original work by exposing it to a new audience. A broader adoption of the market enhancement model would relax strict copyright laws for musicians and other media producers who frequently borrow material. Potential drawbacks of expanded fair use include misuse by large corporations at the expense of artists and minimizing an artist’s ability to claim moral harm. Despite these imperfections, the market enhancement model would help achieve a legal balance between expressive freedom and commercial incentives.

Works: 2 Live Crew: Pretty Woman (600-601); Public Enemy: Fight the Power (602); LMFAO: Party Rock Anthem (609, 612); Ghostface Killah, Raekwon the Chef, and the Alchemist: The Forest (610).

Sources: Roy Orbison: Oh, Pretty Woman (600-601); Rick Ross: Hustlin’ (609, 612); Bob Thiele (as George Douglas) and George David Weiss (songwriters), Louis Armstrong (performer): What a Wonderful World (610).

Index Classifications: 1900s, 2000s, Popular

Contributed by: Matthew Van Vleet

Index Classifications: 1900s

Jazz today can be considered part of the avant garde movement of the early twentieth century. One of the common characteristics of the avant garde is pastiche, a characteristic jazz shares, particularly in improvisatory virtuosic solos. The purpose of such pastiche is to call into question the distinction between high and low art. Soloists such as James Moody, Lester Young, and Louis Armstrong regularly quoted other works from both the classical tradition and the popular tradition. Juxtaposing a jazz melody with a quotation from the classical tradition provides irony for the listener, who will understand at least that the quotation comes from an entirely different genre of music. A list of several examples is included.

Works: James Moody, Body and Soul (92, 104); Louis Armstrong, Ain't Misbehavin' (93); more in footnotes.

Sources: Percy Grainger, Country Garden; George Gershwin, Rhapsody in Blue.

Index Classifications: 1900s, Jazz

Contributed by: Felicia Miyakawa

Jazz in Hollywood films creates a context for the formation of a stylized representation of African-American culture, beginning with The Jazz Singer (1927). American myths regarding white ethnics and African-American sexuality are assimilated through the borrowing of African-American music, specifically jazz, as used in director Alan Crossland's The Jazz Singer (1927) and Paul Whiteman's King of Jazz (1930), and later in Alfred E. Green's The Jolson Story (1946) and Luis Valdez's La Bamba (1987). Spike Lee's Mo' Better Blues portrays the larger tradition in which the trumpet is a crucial signifier of masculinity, by borrowing from the music of Louis Armstrong and Miles Davis. In contemporary films, jazz has been configured to signify elegance and affluence as an art form through borrowings from Ellington, Armstrong, Nat King Cole, and Carmichael.

Works: Charles Wolcott: score to Blackboard Jungle (9); Taj Mahal: score to Zebrahead (101); Alfred Newman: score to No Way Out (102); Hugo Friedhofer, Edward B. Powell, and Marvin Hatley: score to Topper (256); Franz Waxman and William Lava: score to To Have and Have Not (261).

Sources: Max C. Freedman and Jimmy DeKnight: Rock Around the Clock (9); John Coltrane: Say It Over and Over Again (102); Duke Ellington: In a Sentimental Mood,Sophisticated Lady (102); Nat King Cole: When I Fall in Love (247); Hoagy Carmichael: Old Man Moon (256), I Am Blue (261).

Index Classifications: 1900s, Film

Contributed by: Kathleen Widden

Index Classifications: 1900s

Despite the prevalence of nonsense syllable singing in a broad range of genres in music traditions around the globe, there is little in terms of aesthetic theory on the phenomenon. The eeph trope and eephing as a practice, found in several genres of American music in the early twentieth century, is one phenomenon that can help contextualize the larger practice of nonsense syllable singing. Unlike other nonsense syllables (such as fa-la-la), the phrase eepha-soffa-dill has a reported, albeit murky, origin with the blackface vaudeville duo Williamson and Stone in the 1890s. The phrase (in several spelling variations) first appeared in a 1902 recording by the Kilties’ Band of Canada, listed without a composer. It first appeared in sheet music in 1903, attributed to Harry Von Tilzer, Andrew Sterling, and Bartley Costello and dedicated to “the original Epha-A-Sof-A-Dill,” Frank Williamson. Five Tin-Pan-Alley songs published between 1903 and 1922 employ the eeph trope, demonstrating a fairly consistent lyrical and melodic convention. The phrase’s later appearance in Broadway tunes still suggests its origins with blackface vaudeville acts through its connotations of stuttering and baby-talk associated with offensive stereotypes of African Americans. Gene Greene’s recorded versions of King of the Bungaloos connect the eeph trope to a budding eephing practice, associating the eeph phrase with mouth percussion sounds. Imitations of Greene’s eephing style appear in several disparate recordings through the 1930s as the eephing practice diffuses into other musical genres. Jimmy Riddle’s 1963 country hit Little Eefin Annie demonstrates how Greene’s eephing practice is absorbed by country music’s nonsense syllable tradition. Riddle’s version of eephing drops the eeph phrase and attaches Greene’s eephing mouth percussion to similar syllables. Although the eephing tradition is similar to the scatting tradition in that they are both nonsense syllable practices, conflating the two practices diminishes the significance of both. The development of the eeph trope into an eephing tradition from the 1890s onwards provides the context for the broader development of scat singing as an approach to vocal jazz.

Works: George M. Cohan: Cohan’s Rag Babe (347-348, 350, 353, 355), The American Ragtime (349, 353); Maurice Abrahams (music), Grant Clarke and Edgar Leslie (lyrics): When the Grown Up Ladies Act Like Babies (347-349, 357-58); Cliff Friend (music) and Billy Rose (lyrics): You Tell Her, I Stutter (349, 357-58, 362); Irving Berlin (as performed by Gene Greene): From Here to Shanghai (361); Jimmy Riddle: Little Eefin Annie (360-64)

Sources: Kilties’ Band of Canada (no listed composer): Ephasafa Dill (Iffa Saffa Dill) (1901-1902) (346); Nick Brown: Iffa-Saffa-Dill (A Negro Oddity) (346); Harry Von Tilzer (music), Andrew Sterling and Bartley Costello (lyrics): Ephasafa Dill (346-47); Charles Straight (music) and Gene Greene (lyrics) (as performed by Gene Greene): King of the Bungaloos (354-357); Butter Boy (performer): Old Aunt Dinah (363); Harmonica Frank Floyd: Swamp Rock (363)

Index Classifications: 1900s, Popular

Contributed by: Matthew Van Vleet

Index Classifications: 1900s

There are three primary categories in which Tarantino uses pre-existing music in his films: main themes and underscoring, incidental diegetic music, and diegetic music chosen by characters. While it is tempting to view Tarantino’s use of dated music in his credit themes as distorting filmic conventions of soundtrack and temporal location or as a postmodern smirk, in reality it can function as an authentication of characters’ identity, as audio-visual counterpoint, and as an authorial statement on the film’s tone and mood. Each of Quentin Tarantino’s major films, Reservoir Dogs,Pulp Fiction, and Jackie Brown, features a scene in which a character selects and plays a piece of music. Such scenes differ from other uses of diegetic music in that they foreground the process of music selection, thus granting characters power to control the score and allowing the selection to represent and illustrate characters or situations. Young audiences of Tarantino’s films will empathize with these foregrounded musical situations, witnessing how an act similar to their own private, mood-related engagement with music is projected onto other characters. This empathy also has an impact on record sales: if youth are able recognize the act of private, mood-boosting engagement with music, they are also likely to enjoy the music itself.

Works: Quentin Tarantino (director): soundtrack to Jackie Brown (188-93, 198-201), soundtrack to Reservoir Dogs (188, 191, 193-96, 202), soundtrack to Pulp Fiction (188, 191, 196-201).

Sources: The Delfonics: Didn’t I (Blow Your Mind This Time) (189-91); Dusty Springfield: Son of a Preacher Man (191, 200); Urge Overkill: Girl, You’ll Be a Woman Soon (191, 200-201); Stealers Wheel: Stuck in the Middle with You (191, 202); Bobby Womack: Across 110th Street (192-93); George Baker Selection: Little Green Bag (193-96); Dick Dale: Misirlou (196-97); Roy Ayers: soundtrack to Coffy (198-99).

Index Classifications: 1900s, Film

Contributed by: Kate Altizer

The field of modern competitive barbershop singing is in a state of crisis over falling membership and popularity, and repertoire is one variable being considered as a means of increasing the appeal of barbershop music. This particular genre tends to blur the distinctions between composer, arranger, and performer. As a result, the product of that network, the musical work, acquires an equally fluid identity. A question of ownership arises: what is "the work" and to whom does it belong? Arrangements vary in their fidelity to an original published tune, and a certain amount of improvisation or rearranging is expected in barbershop, at the very least in the form of tags or codas at the end of a chart.

Index Classifications: 1900s, Popular

Contributed by: Paul Killinger

Ragtime took the United States by storm in the early twentieth century, and Charles Ives incorporated ragtime elements into numerous works. Nevertheless, a closer examination of musical and biographical evidence reveals the composer’s ambivalent and even contradictory attitude towards the genre. On the one hand, Ives demonstrates an enthusiasm for ragtime through his bold embrace of a genre associated with African Americans in a racially divided era. On the other hand, this positive engagement is at odds with the tone of his writings, which often dismissed ragtime as inferior to art music and Protestant hymns. The disparity can be explained by considering the popularity of ragtime during Ives’s youth, how he reworked his early ragtime-based pieces later in life, and the significant time lapse that often occurred between composing a piece and writing about it. Four Ragtime Dances also reflects this ambivalence, and the work can be interpreted either as a statement of progressive inclusivity or of racial inequality. This diversity of hearings is possible because Four Ragtime Dances engages with many types of musical friction—sacred and secular, classical and popular, and racial—and in this regard the work reflects the inherent “messy quality” of Ives’s music in general.

Works: Ives: Four Ragtime Dances (24-46), Central Park in the Dark (46-47).

Sources: George Minor: Bringing in the Sheaves (26, 31); Edward Rimbault: Happy Day (26); Lewis Hartsough: I Hear Thy Welcome Voice (26, 31); Joseph E. Howard and Ida Emerson: Hello! Ma Baby (46-47).

Index Classifications: 1900s

Contributed by: Matthew G. Leone, Daniel Rogers, David G. Rugger

Hip-hop’s joining together of samples to create a sonic whole is not done to express a “postmodern” stance mocking the linearity and rationality of modernism, but is done to honor black funk musicians of the past, especially James Brown and George Clinton. “Live” in black culture can mean “excellence,” and in recordings connotes a live-performance aesthetic which is contrary to the polished sound of the recording industry. Brown and Clinton sought to create this live aesthetic in their recordings through crowd noise and other signifiers of live performance. Comparing James Brown’s Make It Funky to Public Enemy and producer Hank Shocklee’s Fight the Power (which samples the Brown track) shows that the funk ideals of the 1970s are utilized in hip-hop. Thus, “live” in hip-hop is not in a binary with recorded sound, but is an act of “re-memory,” or a piecing together of a history by “remembering” critical pieces of the past.

Works: Eric B &Rakim: I Know You Got Soul (117); Janet Jackson: That’s the Way Love Goes (118); Public Enemy: Fight the Power (119-20).

Sources: James Brown: Papa Don’t Take No Mess (118), Make It Funky (119).

Index Classifications: 1900s, Popular

Contributed by: Nathan Landes

Index Classifications: 1900s, Popular

Index Classifications: 1900s

Index Classifications: 1900s

Written for the one-hundred-and-twenty-fifth anniversary of Mendelssohn's death in 1972, Kochan's Mendelssohn-Variationen for Piano and Orchestra constitutes a musical homage on two different levels. It takes as its theme that of Mendelssohn's Variations Serieuses, which itself pays homage to Bach in its use of the B-A-C-H motive. Kochan acknowledges his 'second generation' homage by using a quotation from an aria in Bach's St. Matthew Passion (a work that Mendelssohn championed) as a 'hidden theme' that is developed alongside, and combined with the main theme throughout the course of the piece.

Index Classifications: 1900s

Contributed by: J. Sterling Lambert

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: 1800s, 1900s

Borrowing classical music in Nintendo Entertainment System (NES) games can accomplish several purposes. Although much early video game music was newly composed, such as now classics Legend of Zelda and Super Mario Bros., it was not the only option available to video game composers. In the case of Captain Comic, the classical music functions mostly as a backdrop. Captain Comic’s entire soundtrack is made of classical music, but ultimately fails as a soundtrack because the classical pieces have little to no connection to the on-screen action. Pirates!, on the other hand, makes use of the cultural codes of Baroque music as a way of setting a historical time period as well as differentiating between different classes of characters. In Pirates!, the player can choose the location and time period; though the Baroque music in the soundtrack (Handel’s Water Music and Bach’s Toccata and Fugue in D minor) are outside of all optional time periods, they still lend the game a historical frame and a certain amount of “seriousness.” These pieces associated with upper-class characters contrast with newly composed nationalistic styles in popular Baroque idioms for the taverns in different cities. Finally, all iterations of Tetris use Russian music, either classical borrowings, folktunes, or newly composed songs to tie the game back to its Russian origins.

Works: Brøderbund (manufacturer): Battle of Olympus (40, 45); Color Dreams (manufacturer): Captain Comic (41-43, 49); Ultra Games (manufacturer): Pirates! (41, 43-45, 49); Nintendo (manufacturer): Tetris (41, 46-49); Tengen (manufacturer): Tetris (46-49).

Sources: Johann Sebastian Bach: Toccata and Fugue in D Minor BWV 565 (40-42, 45); Handel: Suite in D Minor (41); Mozart: Piano Sonata in A Major, K. 331 (41); Rimsky-Korsakov: “Flight of the Bumblebee” from The Tale of Tsar Saltan (41-42); Johann Strauss: The Blue Danube, Op. 314 (41); Schubert: Marche Militaire, Op. 55, No. 1 (41); Wilhelm Friedemann Bach: Allegro non troppo, Fk. 203 (41); Handel: Water Music, Suite No. 1 in F (43-45); Johann Sebastian Bach: Two-Part Invention in G major (44); Tchaikovsky: The Nutcracker (46, 49); Ivan Larionov: Kalinka (46); Anonymous: Korobeiniki (46).

Index Classifications: 1900s, Film

Contributed by: Emily Baumgart

Folk songs most accurately reflect the spirit of a people, and art music is an extension of the spirit of the folk song. Three ways composers use folk songs are: "(1) verbatim, as a musical germ from which to develop a composition; (2) verbatim, but having no particular relation to the musical structure; (3) as suggestion--toward the composition of folk-like themes expressive of the folk spirit."

Works: Haydn: Symphony in D Major (583); Weber: Der Freischütz (584); Schumann: Rheinweinlied (585); Brahms: Academische Festoverture (585); Grieg: Humoreske Op. 6, No. 2 (586), No. 1 of Aus dem Volksleben Op. 19 (586), Ballade Op. 24 (586), Improvisata Op. 29 (586), Norwegian Dances Op. 35 (586); Glinka: Life to the Czar (587); Tchaikovsky: Symphony No. 2 (587), String Quartet Op. 11 (587), Piano Concerto in B flat Minor, Op. 23 (587), Marche Slav (587); Borodin: Prince Igor (588), Steppenskizze (588); Rimsky-Korsakov: Fantasie, Op. 6 (589), La Pskovitaine (589), Antar (589), Sinfonietta, Op. 31 (589), La Grand Paque Russe (589); Stravinsky: Firebird (589), Petrouchka (589); Smetana: Die Brandenburger in Böhmen (589), Das Geheimniss (589), Aus meinem Leben (590), Tábor (590), Aus Böhmens Flur und Hain (590); Dvořák: Slavonic Dances (590), Hussitska Overture (590); Liszt: Hungarian Rhapsodies (590), Mazeppa (590), The Battle of the Huns (590), Hungarian Coronation Mass (590), St. Elizabeth (590); Pedrell: Los Pirineos (591); Bizet: L'arlesienne (592).

Index Classifications: General, 1700s, 1900s

Contributed by: Bradley Jon Tucker

Strauss tended to compose his operas in four stages: (1) musically annotated libretto, (2) sketchbook, (3) piano-vocal score, and (4) orchestral score. Strauss kept a sketch book with him at all times, working and reworking motives into new forms. Some motives can be traced through a series of different works.

Works: R. Strauss: Sinfonia Domestica (181), Der Rosenkavalier (181), Don Quixote (182), Elektra (182).

Index Classifications: 1900s

Contributed by: Fredrick Tarrant

Stylistic analysis of Satie's music remains underdeveloped, due at least in part to the ineffectiveness of traditional analytical approaches. Any analysis of Satie's music, like that of Debussy or Ives, must take into account the "juxtaposition of multiple layers of aesthetic meaning," including the literary and the pictorial. The piano suites composed in 1913-14 provide a focus for studying Satie's creative ideal and the connection (as in the case of Ives) of that ideal with a particular sonic environment. Satie's use of sounds and tunes from his own world brings meaning to the new piece. Satie's use of existing material not only serves expressive purposes, but also provides a creative stimulus. Appended is a list of "Quoted Tunes in Satie's 'Humoristic' Piano Suites."

Works: Satie: Heures séculaires et instantanées (3), Descriptions automatiques (4), Vieux sequins et vieilles cuirasses (6), Embryons desséchés (17), Croquis et agaceries d'un gros bonhomme en bois (23), Chapitres tournés en tous sens (25), Sports et divertissements (30).

Index Classifications: 1900s

Contributed by: Susan Richardson

The distinction between quotation and allusion has long been problematic. Four conditions must be met for a quotation: (1) The pitch pattern corresponds to a preexisting pattern in the musical literature (rhythm does not have to reflect this correspondence); (2) the composer sets this pattern in relief; (3) it can be documented that the composer was familiar with the work or passage in question; and (4) the extramusical context of the composer's work is reflected by that of the quoted work. These four conditions may be applied to Elgar's Second Symphony, in which Wagner's "Preislied" from Die Meistersinger von Nürnberg is either quoted or alluded to. The correspondence of Wagner and Elgar is literal and thus condition 1 is met. In fulfillment of condition 2, Elgar treats the motive in question extensively and separately from the two other principal ones. It can be documented that the composer was familiar with the work or passage in question, thus condition 3 is met. Finally, a quotation of the "Preislied" in the Second Symphony could have three possible extramusical meanings, as a symbol of artistic freedom, as "an homage to two departed Wagnerians," and as a love letter to Mrs. Stuart-Wortley, "a brilliant and deeply sympathetic woman with a fine understanding of artists." Since all four requirements are met, we have to speak of quotation in Elgar's Second Symphony.

Works: Elgar: Second Symphony (231, 237-40); "Enigma" Variations (232-33).

Sources: Wagner: "Preislied" from Die Meistersinger von Nürnberg (231, 233-40); Mendelssohn: Calm Sea and Prosperous Voyage (232); Beethoven: Symphony No. 9 in D Minor (232-33).

Index Classifications: 1900s

Contributed by: Andreas Giger

Index Classifications: 1900s

Index Classifications: 1900s

Jazz has always been a music of mixture that borrows from other traditions, encompassing both free and fusion styles. Examples of musical borrowing and reworking are more overt in jazz fusion which draws on references from rock, popular, ethnic, and classical traditions, creating hybrid jazz styles that appealed to wider audiences. Miles Davis played an important role in propagating jazz fusion with his commercially successful album Bitches Brew (1970), which combined rock and jazz idioms. Davis continued the fusion aesthetic in his work for the film Jack Johnson, in which his producer producer Teo Macero spliced bits from Davis’s performance of Shh/Peaceful and inserted them into Davis’s Yesternow for the score to achieve a new and disjunct sound. Sampling proved a commercially viable technique for other groups as well, including A Tribe Called Quest and Us3. However, these bands were more parasitical than fusion (unlike Miles Davis) because they stole catchy licks and grooves from older jazz styles to use as raw material, rather than sources of style or new ideas.

Works: Miles Davis: Yesternow (327); Jaco Pastorius (performer): Donna Lee (330), God Bless the Child (332); A Tribe Called Quest: The Low End Theory (334); Bill Laswell: Panthalassa: The Music of Miles Davis 1969-1974 (335).

Sources: Miles Davis: Shh/Peaceful (327); Charlie Parker: Donna Lee (330); Billie Holiday and Arthur Herzog, Jr.: God Bless the Child (332).

Index Classifications: 1900s, Jazz

Contributed by: Sarah Kirkman

A jazz performer’s improvisation on a given model can provide insight into that performer’s understanding of the model’s essential elements. What the performer preserves, avoids, and manipulates from the model can indicate not only that performer’s competency, but also their inventiveness. Django Reinhardt’s 1939 recording of Isham Jones’s I’ll See You in My Dreams is one such example. In the context of a rhythmically repetitive structure, Reinhardt creates variety by alternatively highlighting and obscuring phrase boundaries. In cases of the former, Reinhardt includes chromatic turns at midpoints and endings of choruses. In cases of the latter, Reinhardt repeats rhythmic motives across phrases. Additionally, Reinhardt’s use of paraphrase and thematic improvisation demonstrates a deep understanding of the melody from Jones’s model. When paraphrasing, Reinhardt preserves between one and six measures of the melody; longer paraphrases, however, are rare. In thematic improvisations, Reinhardt highlights an important large-scale melodic connection in one of two ways. In the first, he foregrounds the connection as a short melody and plays it repeatedly; in the second, he increases the technical virtuosity of his improvisation while maintaining the melodic outline of the model.

Works: Isham Jones (composer) and Django Reinhardt (performer): I’ll See You in My Dreams (41-58).

Sources: Isham Jones: I’ll See You in My Dreams (41-42).

Index Classifications: 1900s, Jazz

Contributed by: Nathan Blustein

French literary translator Mimi Perrin’s vocalese songs for her vocal jazz group, Les Double Six, offer a unique perspective on the interrelationships between music, language, and culture through her adoption of literary translation aesthetics in a musical practice. Vocalese is a vocal jazz practice in which a singer sets lyrics to an instrumental solo and transforms it into a song. While this practice was not invented by Perrin, what sets her versions apart is the careful way she writes her lyrics so that the vocal sounds produced by the singers mimic the instrumental sounds of the source material. Perrin composed her vocalese by first translating instrumental sounds into phonemes: saxophone attacks become labiodental fricatives, brass attacks become alveolar plosives, and so on. The semantic meaning of the text is secondary to the process of translating instrumental sounds into French phonology. In translation terms, what Perrin does is a kind of homophonic intersemiotic translation, approximating the sounds of a non-linguistic text but not necessarily its meaning. This contrasts with contemporary American vocalese composer Jon Hendricks, who begins with a semantic connection to the instrumental pieces he sets rather than a phonemic connection. To non-French-speakers, Perrin’s translations provide a sonic experience somewhere in between hearing (but not understanding) a French text and hearing nonsense scat syllables. The aesthetics of literary translation further inform what Perrin does with her music. In order to capture the rhythmic feel of swing, Perrin modifies her French with an unusual number of elisions and monosyllabic words, even to the point of confusing some French speakers. Beyond their importance as metaphorical translations of instrumental music, Perrin’s vocalese songs exemplify the cross-cultural translation and adaptation at the heart of global jazz culture.

Works: Mimi Perrin (lyricist and arranger): Blues in Hoss’ Flat (93), Doodlin’ (94), La complainte du bagnard (94-95), Les quatre extra-terrestres (96-97), A Night in Tunisia (99) Un tour au bois (99-100); Jon Hendricks (lyricist and arranger): Doodlin’ (93), Moanin’ (95); Four Brothers (97)

Sources: Count Basie Orchestra: Blues in Hoss’ Flat (93); Horace Silver: Doodlin’ (93); Bobby Timmons: Moanin’ (94-95); Jimmy Giuffre: Four Brothers (96-97); Dizzy Gillespie: A Night in Tunisia (99); Quincy Jones: Walkin’ (99-100)

Index Classifications: 1900s, Jazz

Contributed by: Matthew Van Vleet

The South-Grappelli recordings of Bach's Double Violin Concerto with Django Reinhardt in 1937 were, in addition to an aesthetically adventurous experiment, a socio-political statement based on the diverse musical and cultural backgrounds of the performers. The recordings were organized by Charles Delaunay, who convinced the reluctant violinists to record Bach's score without rehearsal. The first recording corresponds highly to the score: only a handful of ornamentations decorate the violinists' notes, and Grappelli omits some of his part. The second recording involves a much freer interpretation of the Bach original by both violinists, and Reinhardt's accompaniment is highly altered. In both cases, most of Bach's music was omitted so that the recordings could fit on a 78 rpm disc.

Works: Stéphane Grappelli and Eddie South: Interprétation Swing du Première Mouvement du Concerto en Re Mineur de Jean-Sébastien Bach (336-40, 351-54), Improvisation sur le Première Mouvement du Concerto en Re Mineur de Jean-Sébastien Bach (336-40, 351-54).

Sources: Johann Sebastian Bach: Concerto for Two Violins in D minor, BWV 1043 (335-54).

Index Classifications: 1900s, Jazz

Contributed by: Nathan Blustein

Index Classifications: 1900s

Index Classifications: 1800s, 1900s

Sampling techniques in popular music give credence to Walter Benjamin's theory of the "age of reproduction." Recent trends in popular music have seen the resurrection of older popular music through two means: new digital reproductions of otherwise unavailable records; and the integration of samples from older music into new music. There are so many references in today's pop music that we now have references to references of original sources. Authorship and authenticity are problematized in the process. Some popular artists claim that samples and references preserve a popular music archive, but by reproducing these sounds digitally, the human element of original production is lost.

Index Classifications: 1900s, Popular

Contributed by: Felicia Miyakawa

Music in film plays a key role in depicting point of view. Pre-existing songs may be used to provide ironic commentary, as music may be planted to specifically complement the action onscreen. Stanley Kubrick's Eyes Wide Shut shows Kubrick's increasingly sophisticated use of pre-existing music as he skillfully combines music and image. Four kinds of music are used in this film: a Shostakovich waltz, a Ligeti piano suite, a newly composed score, and pre-existing songs. The Ligeti is used to underscore objective events, while the newly composed score by Jocelyne Pook underscores jealous fantasies. Music goes beyond signifying moods and emotions in Eyes Wide Shut, also pointing out Kubrick's narrational agency.

Works: Stanley Kubrick (director): Sound track to Eyes Wide Shut.

Sources: Dmitri Shostakovich: Jazz Suite, Waltz No. 2 (7-9); György Ligeti: Musica Ricercata (9-13); Jimmy McHugh and Dorothy Fields: I'm in the Mood for Love (16); Isham Jones and Gus Kahn: It Had to Be You (16); Wayne Shanklin: Chanson d'Amour (16); Victor Young and Edward Heyman: When I Fall In Love (16); Harry Warren and Al Dubin: I Only Have Eyes for You (16); Mozart: Requiem (17); Liszt: Nuages gris.

Index Classifications: 1900s, Film

Contributed by: Karen Anton Stafford

Musical borrowing is discussed within the context of a theoretical discourse on film music, particularly in part I (chapters 1-5). Early and contemporary film music has drawn on several 19th-century genres, including English musical theater (for melodrama) and Wagnerian opera (for leitmotif). Two different yet complementary theories can be used to consider the affective roles of music in film: the semiotic concept of ancrage, in which music anchors the instability of visual signification, and the psychoanalytic theory of suture, which explains the ability of film music to create subjectivity in spectators. The late-19th-century musical aesthetic in the film scores of Max Steiner proves particularly significant in the effect his scores have had on subsequent film composers.

Index Classifications: 1900s, Film

Contributed by: David Oliver

Bernstein has been concerned with theological meaning in his symphonic works. The acceptance of faith in God is consistently associated with a specific motive (a descending fourth followed by the further descent of a whole- or half-step). This motive invariably appears in the closing and/or opening moments of a work. It appears in Symphony No. 1 (Jeremiah), Symphony No. 2 (The Age of Anxiety), the "Spring Song" from The Lark, Symphony No. 3 (Kaddish), Chichester Psalms, Mass, and Dybbuk. The use of this particular motive may be related to Bernstein's youth since it is common in the liturgy of the High Holy Day music and is also present (as a final cadence) in the Three Festivals of Sukkoth, Passover, and Shavuot. The motive then, "could seep into and take hold of the impressionable mind of a growing musician." It is probably an unconscious association on the part of Bernstein.

Index Classifications: 1900s

Contributed by: David C. Birchler

Index Classifications: 1900s

Vocalese, as referred to in jazz, is the name for a vocal composition created by setting newly composed lyrics to music taken from existing recordings of jazz instrumental music, including the improvised solos. The resulting compositions often require a high degree of vocal virtuosity because the singer is performing music that is not idiomatic for the voice. This practice, which began in the early 1950s and remains popular today, has been unjustly marginalized by most jazz critics, mainly because it does not involve improvisation. Some examples of vocalese are Eddie Jefferson's 1952 Moody's Mood for Love, based on James Moody's I'm in the Mood for Love, Jefferson's version of Charlie Parker's Now's the Time, Jefferson's version of Dizzy Gillespie's Night in Tunisia, and John Hendrick's version of Gillespie's Night in Tunisia.

Works: Jefferson: Moody's Mood for Love (292-94).

Sources: Moody: I'm In the Mood for Love (292-94); Parker: Now's the Time (291); Gillespie: Night in Tunisia (292-93).

Index Classifications: 1900s, Jazz

Contributed by: Scott Grieb

Grant argues that Bruckner and Mahler are dissimilar in many respects, which he enumerates, and suggests that the linking of Mahler with Richard Strauss might be more meaningful. Their influence was reciprocal. Part of the last song in Lieder eines fahrenden Gesellen may be seen as the ancestor of the final duet in Der Rosenkavalier, and the off-stage fanfares in the outer movements of Mahler's First Symphony may have suggested the off-stage fanfares in Ein Heldenleben. Strauss also influenced Mahler, with apparent connections between Ein Heldenleben and the last movement of Mahler's Eighth Symphony; the neuroticism of Salome and parts of Das Lied von der Erde and the Ninth Symphony; and "wandering" solo violin passages in Strauss's Don Juan and Ein Heldenleben and similar solo violin passages in Mahler's Eighth Symphony.

Index Classifications: 1800s, 1900s

Index Classifications: 1900s

Richard Strauss and Hugo von Hofmannsthal’s 1924 “reform and modernization” of Beethoven’s Die Ruinen von Athen invokes the mythology of Beethoven and classical Greece as ideals that need to be restored in post-war German culture. Before Ruinen, Strauss and Hofmannsthal had collaborated on numerous ballet projects, blending Hofmannsthal’s philosophy of dance as regeneration and Strauss’s connection of dance with nostalgia. The collaborators’ reworked Ruinen von Athen developed as an amalgamation of Beethoven’s 1801 ballet Die Geschöpfe des Prometheus and incidental music for the play Die Ruinen von Athen, two works about the loss of art and culture. Strauss’s largest compositional contribution to the project comes in the melodrama, in which Strauss quotes Beethoven’s Third and Fifth Symphonies. The melodrama presents Beethoven as interpreted by Strauss, who emphasizes a heroic, Nietzschean interpretation of Beethoven. Strauss explored similar ideas of metaphysical longing in earlier works such as Eine Alpensinfonie, and the philosophical underpinnings of these works and Ruinen continued to be relevant throughout Strauss’s career. Despite its commercial failure, Die Ruinen von Athen represents an important aspect of Strauss’s artistic philosophy, calling for the rebirth of German culture in the spirit of Beethoven and ancient Greece.

Works: Richard Strauss and Hugo von Hofmannsthal: Die Ruinen von Athen (636-653)

Sources: Beethoven: Die Geschöpfe des Prometheus, Op. 43 (637-39), Die Ruinen von Athen, Op. 113 (637-39), Symphony No. 3 in E-Flat Major, Op. 55 (637-39, 645-53), Symphony No. 5 in C Minor, Op. 67 (637-39, 645-53)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Schoenberg and his circle were quite opposed to a return to past forms to compensate for the problems of composing in a new harmonic language. Yet, at least some of them desired a return back to some compositional techniques of the past; for example, Webern wished to return to a polyphonic manner of thinking. Berg is no exception, and he demonstrates this in Wozzeck, the Kammerkonzert,Lulu, and the Violin Concerto. In each of these compositions, Berg employs cantus firmus technique, specifically chorale variations. The primary motivator in the treatment of the cantus firmus stems from his desire to produce dramatic action, even in the non-operatic works, and to provide meaning for the texts uttered by the characters in his operatic compositions. Berg's treatment of the chorale variations includes fugato, diminution, canon, and other various types of counterpoint. Furthermore, in the passages examined here, Berg creates the accompanying voices from the cantus firmus, allowing for greater unity in a contrapuntal context.

Works: Berg: Wozzeck (57-58), Kammerkonzert (58-59), Lulu (59-62), Violin Concerto (62-65).

Sources: Bach: Es ist genug (63).

Index Classifications: 1900s

Contributed by: Christopher Holmes

Nepalese “mix music” utilizes the latest technologies to produce music which borrows sound bites and sonic styles from both foreign popular music and indigenous music. These “mixes” rapidly juxtapose musical styles without an organizing form, and seek to celebrate sonic multiplicity instead of idiomatic unity. Yet despite the sonic similarity or sameness of the new work and its source materials, the meaning of the new music becomes different from that of the sources’ cultural and contextual meanings. These differences in meaning are illuminated through ethnographic methods, as can be seen in Nepalese heavy metal and in Nepalese mixes.

Works: Mongolian Hearts: Unbho Unbho (178-79); Brazesh Khanal: Deusee rey extended mix (180-82).

Sources: Anonymous: Deusee rey (180).

Index Classifications: 1900s, Popular

Contributed by: Nathan Landes

Puccini's musical borrowing from Verdi can be best understood through an analogy to the "mirror image" from Lewis Carroll's Through the Looking-Glass and What Alice Found There. The mirror image of Verdi's Don Carlos (1867, 1884) appears in Puccini's one-act opera Suor Angelica (1918), on the levels of characterization, declamation, timbre, tonality, and dramatic syntax. A comparison between the scenes of La Zia Principessa and Angelica in Suor Angelica and Philip and the Grand Inquisitor in Don Carlos illuminates Puccini's imitation, modeling, and recomposition techniques. Puccini's female-dominant characterization contrasts to Verdi's more "masculine" cast. Puccini used Verdi as a model for the dramatic relationship between the characters, atmosphere, action, particular arrangement of scenery, monologue, dark vocal sonorities, and tonal development. The greatest similarities are in the middle sections of the two scenes when the characters explore their most intimate desires both musically and dramatically. Puccini's scene can be seen as a reincarnation and a contrafactum of Verdi's. Like his contemporaries Schoenberg, Stravinsky, and Bartók, Puccini struggled with ways to "remake the past" as he experienced conflict with his own musical lineage.

Works: Puccini: Suor Angelica.

Sources: Verdi: Don Carlos.

Index Classifications: 1900s

Contributed by: Tong Cheng Blackburn

The importance of drums in hip-hop is often overlooked, but the drums establish the groove, emphasize the vocal style, and enhance the music beyond its vocal content. Ingrid Monson's discussion of repetition in African diasporic musics and Olly Wilson's concept of the heterogeneous sound ideal in African and African American musics can both be applied to the sonic role of drumming. Both sampling and drum machines play integral roles in hip-hop drumming, but the drum machine is more flexible than a sample because drum machines allow subtle changes to the beat without the necessity of a live performer. A Tribe Called Quest's Everything Is Fair, for example, mimics the delivery of Clyde Stubblefield's drum break in James Brown's Funky Drummer, but incorporates further syncopation and a pause before the downbeat emphasis.

Works: A Tribe Called Quest: Everything Is Fair (268-70).

Sources: James Brown: Funky Drummer (261-63, 268-70).

Index Classifications: 1900s, Popular

Contributed by: Amanda Sewell

Background information on the Dies Irae sequence notes no records of the melody's origins and attributes the text to Thomas of Celano. Composers have used the chant in two ways: (1) as an integral part of their settings of the Requiem Mass in its proper context; (2) in secular works, often in a debased form to help create the appropriate diabolical or supernatural atmosphere. Berlioz's Symphonie Fantastique was the first in a Romantic trend of using this theme associated with death and the last judgment in its most terrible aspects. The character of the melody's significance has changed significantly from its original connotation. Composers of the Romantic era used the melody for its associations with terror and dread, while ignoring the message of hope that is also explicit in the words. Some manifestations of the Dies Irae melody served as models for other composers to follow. One example is Liszt's Dante Symphony, which influenced Mussorgsky's Songs and Dances of Death and Tchaikovsky's Francesca da Rimini. In the twentieth century, the tradition was kept alive by Sergei Rachmaninaov, who used the Dies Irae to represent evil spirits in the Rhapsody on a Theme by Paganini.

Works: Berlioz: Requiem (135), Symphonie Fantastique (135-36); Alfred Bruneau: Requiem (135); Liszt: Totentanz (136, 137); Mussorgsky: Songs and Dances of Death (136); Saint-Saëns: Danse Macabre (137); Tchaikovsky: Francesca da Rimini (137), In Dark Hell (137), Suite in G Major (137); Rachmaninoff: Tone Poem, Op. 29 (138), Symphonic Dances, Op. 45 (138), Symphony No. 3 (138), Rhapsody on a Theme by Paganini (138); Vaughan Williams: Tudor Portraits (138).

Index Classifications: 1800s, 1900s

Contributed by: Jean Pang, Randy Goldberg

Joseph-Marie Lo Duca’s 1952 sonorized version of Carl Theodor Dreyer’s 1928 silent film La Passion de Jeanne d’Arc has been widely criticized for its alterations to Dreyer’s negatives, but its soundtrack, constructed primarily from recordings of Baroque music, has received considerably less attention. Much of the soundtrack was taken from two commercial LPs that championed the music of Tomaso Albinoni (including the fraudulent Adagio in G Minor). Some inclusions—particularly Alessandro Scarlatti’s Passion According to St. John, the only piece to be recorded exclusively for the film—have a clear resonance with the themes of the film. Others, like the three Bach organ chorale preludes, have a less clear textual motivation. Two apparently improvised organ pieces in Baroque style are also included in the soundtrack. From these recordings, Lo Duca separated out individual movements and rearranged the material to create a nearly continuous soundtrack. Other than a recitative used in the opening scene, Scarlatti’s Passion is only heard in the final fifteen minutes of the film, although there is no consideration for the text of particular movements. Most of the music is not closely related to the action on screen, highlighting common issues with using metrically predictable Baroque music in a film context. Some scenes, however, exhibit a more overt relationship between sound and visuals. For instance, the Agnus Dei chant is used diegetically during a ceremony of Eucharist. While Lo Duca’s methodology gives up control of fine-grained integration of sound and image, it does exemplify the phenomenon of aleatoric synchronization, whereby unanticipated correlations emerge between sound and image due to the ambiguity and “stickiness” of musical signifiers. This is demonstrated by the two scenes containing Albinoni’s Adagio in G Minor (actually composed by Remo Giazotto). Despite the film not being cut to the music, there are many close correspondences between the rhythm of the edit and the rhythm of the music during the courtroom scene. In a later scene in which guards mock Jeanne, the portentous Adagio creates tonal friction with the comedic visual tone, rendering it ironic rather than sympathetic. This aleatoric synchronization challenges the notion that a film’s visuals always outweigh the music and suggests a more complex relationship between the two domains.

Works: Joseph-Marie Lo Duca (compiler): soundtrack to La Passion de Jeanne d’Arc (30-42, 43-46); Peter Weir (director): soundtrack to Gallipoli (39)

Sources: Remo Giazotto (composer), Tomaso Albinoni (attributed to): Adagio in G Minor (30-33, 36-42, 43-46); Alessandro Scarlatti: Passion According to St. John (31-32, 43-46); Bach: Ich ruf’ zu dir, Herr Jesu Christ, BWV 639 (31-32, 43-46), Nun komm’ der Heiden Heiland, BWV 659 (31-32, 43-46), O Mensch, bewein’ dein’ Sünde gross, BWV 622 (31-32, 43-46); Anonymous (plainchant): Agnus Dei XVI (31, 33, 43-46); Vivaldi: Concerto for Two Violins and Two Cellos in G Major, Op. 4, No. 1, RV 575 (33, 43-46), Concerto in G Major, RV 275 (35, 43-46); Tomaso Albinoni: Sinfonia in G Minor, Op. 2, No. 6 (43-46), Concerto à 5 in D Major, Op. 5, No. 3 (43-46), Concerto for Oboe in B-flat Major, Op. 7, No. 3 (43-46); Francesco Geminiani: Concerto Grosso in G Minor, Op. 3, No. 2 (43-46); Giuseppe Torelli: Concerto à 4 in G Major, Op. 6, No. 1 (43-46); Giovanni Battista Sammartini: Sinfonia in G Major, J-C 39 (43-46)

Index Classifications: 1900s, Film

Contributed by: Matthew Van Vleet

The physical act of practicing and performing “Obsession,” the first movement of Eugène Ysaÿe’s Sonata No. 2 for Solo Violin, uncovers meanings in the work related to both an obsession with Bach’s music and a physical possession by a demonic Bach in the vein of the devil-violin trope of virtuosity. The performed obsession with Bach begins in the opening figure of Ysaÿe’s sonata, a quotation of the opening to Bach’s E-Major Partita. From there, Ysaÿe continues into a rapid passage resembling the contour of Bach’s partita but one semitone off, suggesting an attempt to wrestle the musical line away from Bach. Ysaÿe continues to quote figures from Bach’s violin music throughout the movement. The obsessive effect of these quotations relies more on the muscle memory a seasoned violinist gains with Bach’s violin music than strictly mental memory. The piece feels like Bach more than it sounds like Bach, representing a more subtle and insidious influence from the venerated composer. Performing “Obsession” also calls to mind the history of the demonically possessed virtuoso violinist, most directly through frequent quotation of the Dies irae. Ysaÿe first quotes the Dies irae in a bariolage texture, evoking the physical sensation of playing Bach’s distinctive bariolage passages without sonically evoking Bach. In combination, the aural quotations of the Dies Irae and the physical quotations of Bach’s violin music can create the experience (in performance) of being demonically possessed by Bach. The irreverent nature of the Bach quotations further evokes this “rock-star” virtuoso feeling. This kind of embodied musical analysis underlines the importance of considering the body when theorizing about music.

Works: Eugène Ysaÿe: Sonata No. 2 for Solo Violin, Op. 27 (65-76)

Sources: J. S. Bach: Partita for Violin No. 3 in E Major, BWV 1006 (66-70, 72-76), Sonata for Violin Solo No. 2 in A Minor, BWV 1003 (69-70); Attributed to Thomas of Celano: Dies irae (71-76)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Cover versions of songs invite analysis of the effects of musical change, particularly when cover versions cross lines of gender, sexuality, race, place, class, and language. For example, Judy Collins's cover of Bob Dylan's Just Like a Woman can be read as a monologue, a lesbian version, an address to another woman, or a strict rendition of the original because Collins does not change any of the gendered pronouns from Dylan's original lyrics. Additionally, covers across race lines may either appropriate stylistic elements from the original or rewrite the cover version in a different style. International or cross-language covers often designate English as the hegemonic norm and raise questions about the use of another language as merely an exotic type of instrument. A discography of all music discussed is included.

Works: Kenneth Gamble, Leon Huff, and Cary Gilbert (songwriters), Thelma Houston (performer): Don't Leave Me This Way (52); Kenneth Gamble, Leon Huff, and Cary Gilbert (songwriters), Communards (performers): Don't Leave Me This Way (52); Bob Dylan (songwriter), Roberta Flack (performer): Just Like a Woman (52-53); Bob Dylan (songwriter), Judy Collins (performer): Just Like a Woman (53-54); John Gluck, Wally Gold, and Herb Weiner (songwriters), Bryan Ferry (performer): It's My Party (54); Jerry Leiber and Mike Stoller (songwriters), Elvis Presley (performer): Hound Dog (55-56); Little Richard (songwriter), Pat Boone (performer): Long Tall Sally (55-57); Hank Williams (songwriter), Ray Charles (performer): Your Cheatin' Heart (55, 57, 59-60); Paul Simon (songwriter), Simon and Garfunkel (performers): Bridge Over Troubled Water (58-59); Paul Simon (songwriter), Aretha Franklin (performer): Bridge Over Troubled Water (59).

Sources: Kenneth Gamble, Leon Huff, and Cary Gilbert (songwriters), Harold Melvin and the Bluenotes with Teddy Pendergrass (performers): Don't Leave Me This Way (52); Bob Dylan: Just Like a Woman (52); John Gluck, Wally Gold, and Herb Weiner (songwriters), Lesley Gore (performer): It's My Party (54); Jerry Leiber and Mike Stoller (songwriters), Big Mama Thornton (performer): Hound Dog (55-56); Little Richard: Long Tall Sally (55-57); Hank Williams: Your Cheatin' Heart (55, 57, 59-60); Claude Jeter (songwriter), Swan Silvertones (performers): Mary Don't You Weep (58-59).

Index Classifications: 1900s, Popular

Contributed by: Amanda Sewell

The move from quotation to integration can be summarized under four headings: (1) Out of the Past, (2) Out of the East, (3) Collage, and (4) Integration. The music of the eighteenth and nineteenth centuries was too close to composers' own time to be approached without an ironic detachment, so the much more distant past can be used without being labeled conservative. Plainsong melodies and twentieth-century techniques of variation are used by Peter Maxwell Davies to create un-fifteenth-century sounding melodies. For example, his opera Taverner uses the sequence Victimae paschali laudes, which is parodied and used as a symbol of the Resurrection. Davies uses plainsong to question his own music and methods and those of his contemporaries, in an attempt to convince himself of his work's genuineness. The East has exerted a marked influence on composers since 1950, including Messiaen, Cage, Reich, and LaMonte Young. The percussion-based ensembles in works by Boulez and Stockhausen have exotic Eastern resonances, but this influence has been seen less in works by Eastern composers themselves. Takemitsu, for example, seems to be more inspired by Debussy, Boulez, and Feldman than any particular Eastern orientation. Collages have been composed in order to test the present against the past, and vice versa, and to improve audience contact by providing a familiar subject. Cage's works of the 1960s, such as Williams Mix, Fontana Mix, Variations IV, and HPSCHD, were attempts to bring together real-world sounds and composed music (both live and on tape), often including much multi-media apparatus. Bernd Alois Zimmermann, however, often brings together musical worlds with the intent of setting the quoted material in relief, in direct contrast to the methods of Cage, whether it comes from Bach, Prokofiev, or Berg. Integration is similar in style to collage, but the two differ greatly in intent. In integration, the original material is suppressed in order to serve the new work, as is the case in the third movement of Berio's Sinfonia. The assembly of so many quotations is accomplished so well that the work may well be considered a new creation. Again unlike Cage, the work is an organized picture of disorder, rather than disorder itself. Stockhausen's Hymnen is also an integration, this time of national anthems. Recordings of various anthems are intermodulated within each other, setting up juxtapositions of the anthems. Hymnen sets up a stream of electronic sound around, between, and through the presentation of the anthems, seemingly drifting from one region to another.

Works: Messiaen: Couleurs de la cité céleste (190-91), La Transfiguration de Notre Seigneur Jésus-Christ (191, 196); Peter Maxwell Davies: Taverner (190, 192), Alma redemptoris mater (191), String Quartet (191), Blind Man's Buff (192), St. Thomas Wake (192), First Fantasia on an In nomine of John Taverner (192), Second Fantasia on an In nomine of John Taverner (192-93), Worldes Blis (192-93), Ave maris stella (193), Prolation (193), St. Michael Sonata (193), Symphony (193), A Mirror of Whitening Light (193-5); Jean-Claude Eloy: Equivalences (197), Faisceaux-diffractions (197), Kamakala (197), Shanti (197); Henze: L'autunno (197); Tristan (197); Stockhausen: Telemusik (199-200, 206-7, 210, 213); Cage: Credo in Us (200), Variations V (200-201), Fontana Mix (200), Theatre Piece (201), Variations IV (201); Cage and Lejaren Hiller: HPSCHD (201); Eric Salzman: The Nude Paper Sermon (201); Crumb: Ancient Voices of Children (202), Night of the Four Moons (202); Bernd Alois Zimmermann: Die Soldaten (202), Antiphonen (202), Nobody knows the trouble I see (202), Présence (202), Musique pour les soupers du Roi Ubu (202-3), Photopsis (203), Monologe (203-5); Michael Tippett: Symphony No. 3 (203); Shostakovich: Symphony No. 15 in A Major (203); Mauricio Kagel: Ludwig van (203), Variationen ohne Fuge (203-8); Stockhausen: Kurzwellen (206), Opus 1970 (206-7); André Boucourechliev: Ombres (206, 220); Berio: Sinfonia (207-9, 219-20); Stockhausen: Hymnen (210-13); Henri Pousseur: Echos de Votre Faust (213), Jeu de miroirs de Votre Faust (213), Votre Faust (213), Miroir de Votre Faust (213-14), Couleurs croisées (214), Les ephemeredes d'Icare (214), Mnemosyne II (214), Racine (214), Répons (214), Invitation à l'utopie (214), Icare apprenti (214), Die Eprobrung des Petrus Hébraïcus (214-15), Stravinsky au future (215), L'effacement du Prince Igor (215, 217); Peter Schat: Canto general (216, 218), To you (216); George Rochberg: Blake Songs (219), Contra mortem et tempus (219), Music for the Magic Theater (219), String Quartet No. 1 (219), String Quartet No. 2 (219), String Quartet No. 3 (219), Symphony No. 2 (219), Symphony No. 3 (219), Violin Concerto (219).

Sources: Machaut: Messe de Notre Dame (189); Plainchant: Victimae paschali laudes (190); Monteverdi: Vespers (191); Plainchant: Dies irae (193); Berg: Wozzeck (202); Beethoven: Symphony No. 9 in D Minor (203); Mahler: Symphony No. 2 in C Minor (208), Symphony No. 4 in G Major (208); Henri Pousseur: Votre Faust (213); Stravinsky: Agon (215-16); Webern: Variations, Op. 27 (216).

Index Classifications: 1900s

Contributed by: Marc Geelhoed

Ralph Vaughan William’s Seventh Symphony, Sinfonia Antartica, is a reworking of his score to the 1948 film Scott of the Antarctic, and this connection reveals the relationship between the complex national mythology of Captain Robert Falcon Scott’s ill-fated 1910–1913 Antarctic Expedition and the diverse musical influences of Vaughan Williams’s late compositions. Sketchbooks suggest that Vaughan Williams began developing the score to Scott of the Antarctic before shooting on the film began, drawing on the popularity of the Scott Expedition during the Second World War and its strong association with English nationalism. Shortly after the film’s premiere, Vaughan Williams discussed reusing material from the score to create a symphony, which eventually premiered as Sinfonia Antartica in 1953. Sinfonia Antartica straddles the line between absolute and programmatic content, confounding some critics. Structurally, the five movements are framed in balanced symmetry centered around the third movement, “Landscapes.” Several cues from the film score are reworked into Sinfonia Antartica, giving their original narrative functions deeper spiritual purpose. The addition of the organ particularly works to elevate the Antarctic environment and the story of Scott’s expedition to metaphysical significance. The icy landscape draws people toward it but is ultimately desolate and empty, mirroring the existential crisis of faith in English art following World War II.

Works: Ralph Vaughan Williams: Sinfonia Antartica (118-34)

Sources: Ralph Vaughan Williams: score to Scott of the Antarctic (118-34)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Index Classifications: 1900s

Musical semantics and quotation have garnered considerable attention in music scholarship, but there are still several problems that must be addressed. The diversity of musical quotation techniques, the numerous ways they may relate to each other, and questions of how a quotation works within a new composition pose difficulties for researchers, who are at risk of overanalyzing or misinterpreting a work. To that end, scholars must demonstrate that a musical quotation in a new piece was intentional and purposefully placed for someone’s benefit or recognition (usually the intended listener or likely audience). Furthermore, musical quotation has a long, relatively unexplored history, with composers reusing existing music in practical ways (as well as other aesthetically driven ways) since the sixteenth century, and scholars must make distinctions regarding the different types and purposes of musical quotation, which can vary widely from era to era or even piece to piece.

For works composed prior to the twentieth century, quotations are “in tension” with the new material around it: noticeable and distinct, but still integrated, and the treatment of the borrowed material helps determine its meaning in the new context. A much larger problem arises in modern music from Mahler to Stockhausen, which employ so many different quotations and allusions from different historical eras and styles that it is difficult to tell which elements are “central” to the composition and which are “borrowed” or “foreign bodies.” Moreover, even when listeners have access to a composer’s input through program notes or commentary, they are often at pains to hear the individual quotations and borrowed materials. Modern-day pluralistic, collage-like pieces such as Luciano Berio’s Sinfonia pose new challenges for semantics, analysis, and interpretation, and there is still much disagreement among composers and scholars over how such music is to be understood.

Works: Jacquet de Mantua: Dum vastos Adriae fluctus (123); Andreas Zweiller: Magnificat (124); Clemens non Papa: Drei Magnificat from Corpus Mensurabilis Musicae, Vol. 4 (125); Cipriano de Rore: Ancor che col partire (126); Adriano Banchieri: La pazzia senile (126); Francesco Rovigo: Magnificat “Benedicta es caelorum” (127); Georg Herner: Magnificat (127); Pietro Antonio Bianco: Magnificat (127); Stockhausen: Hymnen (130), Telemusik (130); Luciano Berio: Sinfonia (131-32).

Sources: Palestrina: Vestiva i colli (126); Lassus: Fleur de quinze ans (127); Jacob Regnart: Venus du und dein Kind (127); Giovanni Croces: Percussit Saul mille (127); Gustav Mahler: Symphony No. 2 in C Minor (“Resurrection”) (132); Richard Strauss: Der Rosenkavalier (132); Ravel: La Valse (132); Beethoven: Symphony No. 6 in F Major, Op. 68 (“Pastoral”) (132).

Index Classifications: General, 1900s

Contributed by: Matthew G. Leone

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: 1900s

Index Classifications: 1900s

Transcribing jazz improvisations should entail more than note-by-note recording, especially for advanced performance students. Three additional steps reinforce the pedagogical benefits of transcription: an overall description of what occurs in an improvisation, an assessment of the musical parameters that the improvisation highlights, and an application of that assessment to creating improvisations in a similar style. Analyses of three interpretations of Body and Soul by Bill Frisell, Cassandra Wilson, and Keith Jarrett encourage three different approaches to improvisation. From Frisell, an improvisational model includes incorporating looping technology for repeating aleatoric motives. From Wilson, an improvisational model encourages a singer to replace the notes of a song while keeping its lyrics. Finally, from Jarrett, an improvisational model provides a performer with preset motives that can be manipulated with a large-scale formal trajectory in mind.

Works: Johnny Green: Body and Soul as performed by Bill Frisell (64-66), Cassandra Wilson (66-69), and Keith Jarrett (70-75).

Sources: Johnny Green: Body and Soul (61-62).

Index Classifications: 1900s, Jazz

Contributed by: Nathan Blustein

Index Classifications: 1900s

Despite his highly individualistic style of composition, Honegger frequently borrowed music or musical gestures from several composers, with J.S. Bach chief among them. The book includes commentary regarding Honegger’s use of music by Bach, Campra, Debussy, Fauré, and Roussel.

Works: Honegger: Hommage à Albert Roussel (243), String Quartet No. 1 in C Minor (253), Toccata and Variations for Piano (365-66), Toccata on a Theme of Campra (365-66), Suite after J.S. Bach (383-84), Prelude and Fugue in C Minor (384), La Danse des Morts (434-35), Les Noces d’Amour (479).

Sources: Fauré: Theme and Variations, Op. 73 (239); Albert Roussel: Le festin de l’araignée, Op. 17 (243), Piano Concerto, Op. 36 (243); Debussy: Sonata for Flute, Viola, and Harp (253); André Campra: Camille (365); Johann Sebastian Bach: English Suites (383-84), Prelude and Fugue for Organ, BWV 545 (384), St. Matthew Passion, BWV 244 (437).

Index Classifications: 1900s

Contributed by: Keith Clifton

A letter written in response to a previous correspondence by Frank Hill on Shostakovich's borrowings (Oct. 1983 Gramophone). Hall wants to clarify that over 115 composers have used the tune of the British National Anthem in their compositions, in over 125 works of all types. No specific works are mentioned, but the list of composers includes J. C. Bach, Haydn, Beethoven, Liszt, Verdi, Brahms, Ives, and Stockhausen.

Index Classifications: 1700s, 1800s, 1900s

Contributed by: Paula Ring Zerkle

A phenomenology of musical borrowing as an intentional compositional act can be used to trace the tradition through Western art music history and uncover what musical borrowing is in itself. Borrowing (and related terms) generally implies a sense of ownership, which in turn invokes normative concepts of musical materiality, aesthetic idea, and compositional originality. Two repertories in Western art music stand out for their borrowing practices and different approaches to composition: medieval polyphony and musique concrète. Medieval polyphony lacks the commitment to the aesthetic notion of compositional originality found in modern music. Instead, the Medieval concept of auctoritas, or relying on existing authority to legitimate one’s work, holds that no music originates from one person alone. The relationship between Binchois’s chanson De plus en plus and derivative works such as Leonel Power’s motet Anima mea liquefacta est and Ockeghem’s Missa De plus en plus demonstrates this concept. The different understanding of musical materiality in the Medieval worldview also precludes ownership in the modern sense. Half a millennium later, musique concrète held a similar approach to musical materiality, where the work of a composer is to elaborate on pre-existing material. Pieces like Pierre Schaeffer’s Ètude aux chemins de fer can be construed as “musical borrowing” if the aesthetic potentiality of sound objects is considered. By comparing acts of musical borrowing across history, a more fundamental understanding of the aesthetic and ethical considerations of the phenomenon can be reached. Instead of being seen as a compositional anomaly, musical borrowing should be promoted as a cultivation of a musical community.

Works: Leonel Power: Anima mea liquefacta est (178-79); Johannes Ockeghem: Missa De plus en plus (178-79); Pierre Schaeffer: Ètude aux chemins de fer (180-81).

Sources: Gilles Binchois: De plus en plus (178-79).

Index Classifications: 1400s, 1900s

Contributed by: Matthew Van Vleet

Snyder and Berlin’s “coon song” That Opera Rag is a strong case study for examining the complex attitudes towards class, race, nationality, and gender in the early 1900s. That Opera Rag, despite its many conventional features, has three which defy expectations: a mediant relationship between the two tonal areas of A minor and F major, operatic (as well as popular) quotations, and irregular phrase lengths resulting from the opera quotations. This song perhaps began as an instrumental example of “ragging the classics” by combining highbrow operatic music with lowbrow ragtime conventions, and can be heard as a spoof of operatic grandeur. The lyrics, which utilize minstrelsy misspellings, “humorously” portray black housepainter Sam Johnson as an opera neophyte who misidentifies the quotations. Johnson’s recognition of operatic music represents a contemporary fear for white Americans that African Americans were asserting cultural aspirations through the appreciation of opera. Yet That Opera Rag was also used in the Broadway play Getting a Polish, in which a (white) Montana widow tries to transcend her “common” status by seeking refinement in Paris. May Irwin, the star of Getting a Polish, used That Opera Rag as an unconventional vehicle to stardom by performing these racist songs in a masculine fashion; she gained much renown and success despite being a woman and not being traditionally attractive. Thus, critical interpretation of the song renders multiple levels of commentary which represent the coexisting and contradictory cultural spaces that existed in America in the early twentieth century.

Works: Ted Snyder and Irving Berlin: That Opera Rag; Irving Berlin: When the Midnight Choo Choo Leaves for Alabam’ (389).

Sources: Verdi: Miserere from Il Trovatore (387-88); Bizet: Toreador Song from Carmen (389); Donizetti: Sextet from Lucia di Lammermoor (389); Henry Bishop: Home! Sweet Home! from Clari, or the Maid of Milan (389); Ted Snyder and Irving Berlin: That Opera Rag (389-90).

Index Classifications: 1900s, Popular

Contributed by: Nathan Landes

After the Met’s infamous one-night-only premiere of Richard Strauss’s Salome in 1907, a fad for stage and song representations of Salome and her Dance of the Seven Veils (dubbed “Salomania” by the New York Times) hit America. The reception of Salome in America was contextualized by an earlier fascination with “exotic” Egyptian dancing on display at the 1893 Chicago World’s Fair as well as a trend of Salome-themed vaudeville acts. Because of this earlier exposure, songwriters during the Salomania craze tended to be more aware of the inauthenticity of Orientalist dancing and poked fun at the scandalous opera and vaudeville interpreters alike. A popular theme was the artifice of Salome’s exotic seduction. Many Salome songs used the Salomy [sic] melody, a minor-key tune built from a 1–flat 7–5 core that came to be associated with pseudo-oriental dancing. The earliest known examples of the Salomy melody appear in Mariutch Down at Coney Isle (1907) and I’m Going to Get Myself a Black Salome (1908), although it is likely these songs quote an unknown earlier tune. Moreover, songs about a black Salome are likely referencing a real individual, vaudeville dancer Aida Overton Walker, who attempted to perform a restrained Salome as a springboard to artistic legitimacy but was rejected by audiences. After Strauss’s Salome returned to American opera houses in 1909, Salomania reached its peak and interest began to decline. Clarice Vance’s 1909 parody routine “Salome” and others like it lampooned the Salome craze itself. In the aftermath of Salomania, the Salomy melody receded into a general orientalist trope, used indiscriminately to evoke exoticism but not Salome herself.

Works: Harry Von Tilzer: Mariutch Down at Coney Isle (642, 647, 659-60); Stanley Murphy and Ed Wynn: I’m Going to Get Myself a Black Salome (658-64); Ben M. Jerome and Edward Madden: The Dusky Salome (660, 663-65); Archibald Joyce: Vision of Salome (660, 677-80); Jimmie V. Monaco and Joe McCarthy: Fatima Brown (661, 682-84); Abner Silver and Alex Gerber: Becky from Babylon (661, 683-85); Richard Howard: When They Play That Old ‘Salomy’ Melody (661, 686-88); Gus Kahn and Bud De Sylva: Moonlight on the Nile (661, 688-89); Ted Lewis and Frank Ross: Queen of Sheba (661, 688); Sigmund Romberg: Fat, Fat, Fatima (661, 688); Orlando Powell and John P. Harrington: Salome (671-74)

Sources: Unknown: Salomy melody (659-65, 677-88); Harry Von Tilzer: Mariutch Down at Coney Isle (659-60, 676); Felix Mendelssohn: Lieder ohne Worte, Op. 62, No. 6 (Spring Song) (673-74); Richard Strauss: Salome (677-81); Georges Bizet: Carmen (688); Edvard Grieg: In the Hall of the Mountain King from Peer Gynt (688)

Index Classifications: 1900s, Popular

Contributed by: Matthew Van Vleet

Index Classifications: 1700s, 1800s, 1900s

Index Classifications: 1900s

Because repetitions in music are over-generalized and under-analyzed, a framework is needed for analyzing transformations of repetitions which happen with an explicit change of context, including clear definitions for terms such as segment, criterion, instantiation, coincidence, realization, musical context, idea, and structural interpretation. This allows for a discussion of how repetitions are altered within a particular musical context, instead of simply noting that repetitions exist. Musical borrowings or quotations fulfill the setup conditions for recontextualization—repetition with an explicit change of context—but it is important that the context of these musical borrowings is actively transformed. In other words, quotations that are simply set down in a new context and are not “actively transplanted” are not recontextualized. The quotation of the opening of Tristan und Isolde in Berg’s Lyric Suite is an excellent example of a musical borrowing that is also recontextualized.

Works: Berg: Lyric Suite (64-65).

Sources: Wagner: Tristan und Isolde (64).

Index Classifications: 1900s

Contributed by: Chelsea Hamm

Index Classifications: 1900s

The opera Taverner by Peter Maxwell Davies highlights the composer's ability to portray the struggle between old and new musical styles. Davies has always been interested in musical borrowing. In the late 1950s and early 1960s, this was manifested by his interest in melodic fragments from the seventeenth century. In the 1970s, his interest turned toward theatrical venues and his borrowing became more extensive. The opera tells the story of the composer John Taverner and is based on Taverner's In Nomine, stated in full only at the end of the work. Throughout the work, Davies plays with certain intervals and phrases from Taverner's piece, including the whole tones found in the cantus firmus and the tritones that appear in several voices. By greatly slowing the harmonic motion, Davies is able to reinterpret the pitches and their functions as they stood in the original. This relates to the theme of the opera, which involves an examination of the artist being in league with the devil and with death.

Index Classifications: 1900s

Contributed by: Jessica Sternfeld

Index Classifications: 1900s

Many twentieth-century composers are motivated to borrow musical materials out of a sense of nostalgia. Two practices can be found: that of Mahler and Ives and that of the neo-classicists. Mahler and Ives both used quoted material drawn from popular and folk culture, Mahler for the purpose of capturing the spirit of the people and thus enabling himself to speak for them, Ives for the purpose of presenting his observations of life and nature; both seldom develop their musical materials. Ives's process of composition is similar to that of the writer James Joyce, in that both begin with simple subjects and use them to create multi-layered meanings. In contrast to Mahler and Ives, the neo-classicists display their nostalgia through reference not to popular music but to the art music of the 18th century. Ironically, the listener finds neo-classicism, with its limited frame of reference, easier to grasp than the music of Ives and Mahler, which draws from a larger pool of resources.

Index Classifications: 1900s

Contributed by: Sergio Bezerra, Randal Tucker, Jessica Sternfeld

A quotation in the fourth movement of Shostakovich's Piano Concerto No. 1 is incorrectly attributed as Ach du Lieber Augustin. According to Hart, the quotation is actually from an English nursery song titled Poor Jennie is a-weeping, a-weeping.

Works: Shostakovich: Piano Concerto No. 1.

Index Classifications: 1900s

Contributed by: Lee Ann Roripaugh

Aaron Copland’s Old American Songs are a window into his career-spanning struggle with the nature of American music in the evolving Cold War political landscape. The earliest sketches for Old American Songs are dated to 1941, during a period in Copland’s career largely defined by his political engagement with the leftist Popular Front, but the two sets were not published until 1950 and 1954 respectively. The ten songs Copland selected for Old American Songs come from somewhat diverse origins: three Protestant hymns, three minstrel songs, two children’s songs, a campaign song, and an Anglo-American ballad. However, the songs are considerably more focused on white Anglo-Saxon traditions than the pluralist aesthetic of the Popular Front. In sketches, Copland also included John Henry, a ballad about the African American folk (and labor) hero that was widely performed by Popular Front-affiliated musicians. Copland removed John Henry from Old American Songs prior to publication, apparently for political reasons. The two late additions to Old American Songs, Zion’s Walls and The Little Horses, also support the idea that Copland was distancing himself from the Popular Front by the 1950s; Zion’s Walls in particular was drawn from a collection published by George Pullen Jackson, a major figure in the reactionary White Top Folk Festival. Copland also made numerous musical and textual changes throughout the set, softening any (left leaning) political lyrics and removing the dialect and references to African American traditions from the reworked minstrel songs. Through the presentation of a white, Anglo-Saxon American past and the omission of class and racial tensions from the source material, Old American Songs represents Copland’s retreat from populist causes in the face of Cold War politics and the threat of McCarthyism.

Works: Aaron Copland: Old American Songs (318-39)

Sources: Dan D. Emmett: The Boatman’s Dance (319-23, 337-39); Traditional, John A. Lomax and Alan Lomax (editors): The Dodger (319-23, 328-30, 335-37), The Little Horses (319-23, 325-27, 334-35); George Pope Morris (lyricist) and Charles Edward Horn (arranger): Long Time Ago (319-23, 331); Elder Joseph Brackett, Edward D. Andrews (editor): Simple Gifts (319-23); Traditional: I Bought Me A Cat (319-23), The Golden Willow Tree (319-23), Ching-a-Ring Chaw (319-23, 331-33, 338); John G. McCurry: Zion’s Walls (319-23, 325-27); Rev. Robert Lowry: At The River (319-23)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet

Shostakovich's Symphony No. 15 quotes Rossini's William Tell Overture in the first movement and Wagner's "Annunciation of Death" motive from Die Walküre in the final movement. These quotations are symbolically related to Eine Kapitulation (1870), a play by Wagner that expressed "contempt for the lost ideals of failed revolutionaries." Shostakovich, through the use of musical allusion, was making a forbidden political statement and giving his Soviet masters "the Russian equivalent of two fingers."

Works: Shostakovich: Symphony No. 15.

Sources: Rossini: William Tell Overture; Wagner: Die Walküre.

Index Classifications: 1900s

Contributed by: Lee Ann Roripaugh

Index Classifications: 1800s, 1900s

Discusses the use of satirical elements in Ravel’s second and final opera. Suggests correspondences between the opera and specific borrowed works, including Massenet’s Manon, Stravinsky’s Le Rossignol, and self-borrowing from La Valse, Valses nobles et sentimentales, and the Sonata for Violin and Cello.

Works: Ravel: L’Enfant et les sortilèges.

Sources: Massenet: Manon (3, 6); Stravinsky: Le Rossignol (3, 6); Ravel: La Valse (3, 11-12), Valses nobles et sentimentales (3, 11), Sonata for Violin and Cello (3, 12).

Index Classifications: 1900s

Contributed by: Keith Clifton

Intertextuality may be defined as "the view of a literary work as a text whose richness of meaning results from its location in a potentially infinite network of other texts." In adapting this notion for music, intertextuality operates on two essential levels: stylistic and strategic. A purely stylistic intertextuality arises when a composer makes reference to the conventions of an earlier style or musical tradition without evoking any particular earlier work. Beethoven exploits stylistic intertextuality in the third movement of his String Quartet in A Minor, Op. 132, where the music is imbued with richer meaning through the conscious evocation of Renaissance and Baroque styles. Strategic intertextuality arises when a composer makes reference to a specific earlier work or works. A "spectacular, perhaps unique, example of strategic intertextuality" occurs in the third movement of Berio's Sinfonia, which represents the end of a chain of intertextual references involving the third movement of Mahler's Symphony No. 2, Schumann's "Das ist ein Flöten und Geigen" from Dichterliebe, and Bach's Cantata No. 19 ("Es erhub sich ein Streit") along with an extensive collage of shorter quotations from musical, literary, and non-literary sources.

Index Classifications: General, 1900s

Contributed by: Mark S. Spicer

Index Classifications: 1800s, 1900s

Messiaen’s Cantéyodijayâ, a single-movement work for solo piano best known for its incorporation of total serialism, contains numerous thematic, harmonic, and rhythmic features that derive from other Messiaen works. So many gestures, passages, and harmonic excerpts are self-borrowed that only 53 of the 347 measures of this work cannot be traced to other Messiaen pieces. Short melodic phrases (1-3 measures) are taken unchanged from the Turangalîla Symphony and from Cinq Rechants. These melodic self-quotations often contain the same timbres, rhythms, and pitches, making their source material clear. Instead of incorporating harmonic changes based on the “Modes of limited transposition” as in other works, in Cantéyodijayâ Messiaen reprises earlier harmonic progressions, such as those in Vingt regards sur l’Enfant-Jesus and the Turangalîla Symphony, and relies on earlier formulations such as the “Chords of inverted transposition on the same bass note.” Past rhythmic procedures are also incorporated in Cantéyodijayâ, as well as other self-borrowed compositional features such as serial organization and large-scale formal designs. On the whole, these self-quotations create a “collage” of Messiaen’s works of the past, by retaining their core technical features. A multi-page table summarizes thematic, harmonic, and rhythmic features of Cantéyodijayâ that derive from other Messiaen works.

Works: Messiaen: Cantéyodijayâ (60-71).

Sources: Messiaen: Turangalîla Symphony (63-65), Cinq Rechants (64), Vingt regards sur l’Enfant-Jesus (65-66).

Index Classifications: 1900s

Contributed by: Chelsea Hamm

Jazz pianist Uri Caine quotes extensively from symphonic and vocal works by composers in the classical or art music tradition. On his albums Dark Flame (2003) and Urlicht/Primal Light (1997), Caine's borrowing from Mahler takes a variety of forms, ranging from quotation of a full piece to selective quotation of important and sequential melodic fragments in order to mimic the structure of Mahler's original in a more condensed form. Mahler is a particularly appropriate source for the jazz artist's borrowing, as the earlier composer's use of "folk" materials provides a model for Caine's own appropriation of musical material to explore Jewish identity. Caine's use of Mahler's music is not simply a matter of performance, or of arrangement for different voices; rather, Caine's borrowing is a reflection upon Mahler, history, and subjectivity. Even so, Caine's borrowing within a jazz context raises valuable questions about the validity of the frequently assumed dichotomy between composition and improvisation.

Works: Uri Caine: Dark Flame (230-31, 237-38, 241, 248, 250-52), Urlicht/Primal Light (230-31, 233, 237-39, 241-42, 248-52).

Sources: Mahler: Symphony No. 5 (237, 238), Symphony No. 1 (237, 242, 247), Symphony No. 2 (238, 250), Des Knaben Wunderhorn (238, 241), Lieder eines fahrenden Gesellen (238, 250), Das Lied von der Erde (239, 241, 248), Fünf Rückertlieder (241); Anonymous, Frère Jacques (237).

Index Classifications: 1900s, 2000s, Popular

Contributed by: Paul Killinger

Scholarship often portrays John Cage as a composer at odds with tradition, but such a portrayal obscures the composer's engagement with Gesamtkunstwerk and its utopian aesthetics. In 1967 Cage was working at the University of Illinois Urbana-Champaign with Lejaren Hiller. The university at this time had cutting-edge computer technology. Cage and Hiller collaborated to plan HPSCHD, a four-hour work for seven harpsichords, 51 tape players, 208 computer generated tapes, 64 slide projectors and 8 film projectors. Cage used chance procedures to create the harpsichord parts from pieces by Mozart, as well as Beethoven, Chopin, Schumann, Gottschalk, Busoni, Hiller, and himself. In HPSCHD, Cage aimed to create a microcosm of an ideal, utopian anarchist world of abundance. This is analogous to Wagner's conception of Gesamtkunstwerk as a model for social unity. HPSCHD is also a theater piece and offers a space in which participants can create their own postmodern narrative. Seeing Cage's work in conjunction with his politics helps one to see his participation in high modern European traditions like Gesamtkunstwerk.

Works: John Cage, HPSCHD (474-98).

Sources: Beethoven: Piano Sonata in F minor, Op. 57 (Appassionata) (493); Chopin: Prelude in D Minor, Op. 28, No. 24 (493); Schumann: "Reconaissance" from Carnaval (493); Gottschalk: The Banjo (493); Busoni: Sonatina No. 2 (493); Cage: Winter Music (493); Lejaren Hiller: Sonata No. 5 (493).

Index Classifications: 1900s

Contributed by: Kerry O'Brien

Index Classifications: 1900s

Index Classifications: 1900s

Schoenberg's setting in A Survivor from Warsaw of the Shema Yisrael has an audible similarity to traditional melodies used for this prayer. The emphasis of the minor second as the concluding interval in Schoenberg's version evokes the "Avavoh Rabboh" Jewish cantillation mode, closely related to the Phrygian mode of Western music. Schoenberg seems to have constructed the basis twelve-tone row used in this piece with its application to the Shema in mind. Heller joins Christian Schmidt in disputing the contention of Wilfried Gruhn that other material in this work also has sources in traditional Jewish music.

Index Classifications: 1900s

Contributed by: David Lieberman

Ives's method of quotation is seen as a reworking of borrowed material by altering melodic segments. These modifications range from omission or substitution of several notes to the paraphrasing of a hymn, with preexistent forms used in order to describe and/or serve as a structural foundation. Many musical examples illustrating Ives's techniques are cited. Examples are rhythmic transformation seen in the Fourth Symphony's use of Nettleton, treatment of the head motive of Foster's Old Black Joe in the Three Places in New England, and the improvised qualities of Erie in the First Piano Sonata. The article concludes with a diagram of the architectonic structure of."The 'St. Gaudens' in Boston Common" from Three Places in New England.

Works: Ives: Sonata No. 1 for Violin and Piano (24), Piano Sonata No. 2 ("Concord, Mass., 1840-1860") (24), Three Places in New England (24, 25, 28), Washington's Birthday (25), Symphony No. 4 (24-26), String Quartet No. 2 (24), Three Quarter-tone Piano Pieces (26), Piano Sonata No. 1 (26), Central Park in the Dark (26), Symphony No. 3 (26), General William Booth Enters into Heaven (26), Sonata No. 3 for Violin and Piano (26).

Index Classifications: 1800s, 1900s

Contributed by: Marc Moskovitz

Index Classifications: 1800s, 1900s

Henderson gives a survey of Ives's structural use of borrowed material and in some cases mentions its extramusical value. The following features are discussed and partially illustrated in figures: (1) Quotation in a rhapsodic/improvisatory style; (2) quotation in a chorale-oriented style (reminiscent of organ music); and quotations to create (3) a rondo form; (4) verse and refrain structures; (5) ternary forms; (6) arch-forms; and (7) cyclic forms. Several designs can be combined in one piece.

Works: Ives: Piano Sonata No. 1 (438), Symphony No. 3 (439), Symphony No. 4 (442), Central Park in the Dark (439), General William Booth Enters Into Heaven (439), Violin Sonata No. 3 (439), A Symphony: "New England Holidays" (440), "The 'St. Gaudens' in Boston Common" from Three Places in New England (441), Piano Sonata No. 2 ("Concord, Mass., 1840-1860") (443).

Index Classifications: 1900s

Contributed by: Andreas Giger

Index Classifications: 1800s, 1900s

Pfitzner's opera about Palestrina's divinely inspired act of composing the Pope Marcellus Mass upholds the musical tradition of the Wagnerian music drama and the philosophical tradition of Schopenhauer. A quotation from the Pope Marcellus Mass, the Kyrie eleison head-motive, provides the structural and philosophical cornerstone of the work. Pfitzner's theory of composition based on divine musical inspiration receives its finest realization in the first act of the opera, which focuses on Palestrina's reception of that head-motive.

Index Classifications: 1900s

Contributed by: Amy Weller

Henderson points out in detail the cut and paste approach Prokofiev used to create a symphony from his unsuccessful opera, The Flaming Angel. Entire sections of the opera are simply added one after the other to form the various movements of this orchestral piece. A chart at the end of the article lists the measure numbers of the symphony followed by the location of their sources in the opera.

Index Classifications: 1900s

Contributed by: Bradley Jon Tucker

Index Classifications: 1900s

This essay, written in 1975, is part of a collection of personal memoirs by the composer. Although many of his works involve borrowings of various kinds, this essay deals with the concept explicitly and presents a subjective, first-hand account of the process. In 1972, Henze wrote a piano piece he called "Prélude" which distantly recalled Wagner's Tristan und Isolde. Through further thinking and dreaming, the orchestra piece Tristan began to take shape. Part of the process involved a computer analysis of the first four measures of Act III of Wagner's opera. Tristan, written in 1973, uses tapes generated by the computer analysis of the Wagner excerpt as well as a full orchestra. Other quotations in the work include several bars of Brahms's First Symphony, which Henze explains is intended to represent an enemy, and Chopin's funeral march from his Sonata in B-flat major.

Works: Henze: Prélude (222), Tristan (223-29).

Index Classifications: 1900s

Contributed by: Jessica Sternfeld

Index Classifications: 1900s, Film

Debussy's early works involve explicit reliance on existing models while in his later works the models become more tacit and personalized. This process can be observed in his formulaic openings to works. There are three main categories of such openings: (1) monophonic openings, (2) modal/chordal openings, and (3) introductory sequences and expansions. Numerous examples are cited for each. Such formulas are primarily a mid-to-late nineteenth-century phenomenon. Hepokoski invokes Dahlhaus's concept of originality and the influence of the Symbolists.

Works: Debussy: Printemps (46), La Damoiselle élue (48).

Index Classifications: 1800s, 1900s

Contributed by: David C. Birchler

Two paradoxical interpretations of Charles Ives’s use of borrowed music coexist: an authorial reading and a reading based on the element of lost time (“temps perdu”). The mature music of Charles Ives is internally teleological, building pieces or movements out of “memory fragments” of pre-existing American popular or sacred tunes and quoting the entire tune only at the end of the work (a form called “teleological genesis” or elsewhere “cumulative form”). An authorial reading of this technique situates the meaning of the piece in the creation of a peak experience, which itself intimates to the audience a transcendental understanding of the music beyond the sound itself. Listeners might consider thinking of Ives’s use of “memory-fragments,” or musical borrowings, through the filter of Ives’s personal experiences with his sources, which they may discover (at least in part) through his writings. The second reading of this phenomenon is that striking dissonance, “memory fragments,” and musical manipulation in Ives’s mature pieces represent his attempt to protect a treasured American past from the effects of adulthood and the modern world. Ives’s stylistic plurality in his mature years can be heard as a radical attempt to recover traditional securities of the past, a narrative thread (the “Motive of Lost Wholeness”) common in late nineteenth- and early twentieth-century thought in general. Such pieces depict the past as only existing imperfectly in memory; thus listeners are invited by Ives to embark on a musical journey in search of lost time.

Works: Ives: The Fourth of July (747), Symphony No. 3 (747), Piano Sonata No. 2 (Concord, Mass., 1840-60) (747), String Quartet No. 2 (747), Violin Sonata No. 2 (747-49), Violin Sonata No. 4 (749-50), Violin Sonata No. 3 (750).

Sources: Robert Lowry: Need (750); Asahel Nettleton or John Wyeth (attr.): Nettleton (747); David T. Shaw: The Red, White, and Blue (Columbia, the Gem of the Ocean) (747-49); William Bradbury: Jesus Loves Me (749-50).