Relevant bibliographies by topics / Borrowing in music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Borrowing in music'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Borrowing in music"

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Blackburn, Manuella. "The Terminology of Borrowing." Organised Sound 24, no. 02 (August 2019): 139–56. http://dx.doi.org/10.1017/s1355771819000189.

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This article specifically addresses electroacoustic music compositions that borrow from existing musical and sound resources. Investigating works that borrow and thrive upon existing sound sources presents an array of issues regarding terminology, authorship and creativity. Embedding borrowed elements into new electroacoustic music goes beyond the simplicity of ‘cut and paste’ as composers approach this practice with new and novel techniques. Musical borrowings have been widely studied in fields of popular and classical music, from cover songs to quotations and from pastiches to theme and variations; however, borrowings that take place within the field of electroacoustic music can be less clear or defined, and demand a closer look. Because the components and building blocks of electroacoustic music are often recorded sound, the categories of borrowing become vast; thus incidences of borrowing, in some shape or form, can appear inevitable or unavoidable when composing. The author takes on this issue and proposes a new framework for categorising borrowings as a helpful aid for others looking to sample in new compositional work, as well as for further musicological study. The article will consider the compositional process of integration and reworking of borrowed material, using a repertoire study to showcase the variety of techniques in play when sound materials change hands, composer to composer. Terminology already in use by others to describe sound borrowing in electroacoustic music will be investigated in an effort to show the multitude of considerations and components in action when borrowing takes place. Motivations for borrowing, borrowing types, borrowing durations, copying as imitation, and composers’ reflections upon borrowing will all be considered within the article, along with discussions on programmatic development and embedding techniques. At the heart of this article, the author aims to show how widespread and pervasive borrowing is within the electroacoustic repertoire by drawing attention to varieties of sound transplants, all considered as acts of borrowing.
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Hallowell, Sean Russell. "Towards a Phenomenology of Musical Borrowing." Organised Sound 24, no. 02 (August 2019): 174–83. http://dx.doi.org/10.1017/s1355771819000219.

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In discourse on the topic, the question of what constitutes a musical ‘borrowing’, if raised at all, is usually restricted in scope and framed as one of terminology – that is, of determining the right term to characterise a particular borrowing act. In this way has arisen a welter of terms that, however expressive of nuance, have precluded evaluation of the phenomenon as such. This is in part a consequence of general disregard for the fact that to conceive of musical borrowing entails correlative concepts, all of which precondition it, yet none self-evidently. Further preclusive of clarity, the musico-analytic lens of borrowing is typically invoked only in counterpoint to a quintessentially Western aesthetic category of composition ex nihilo. As a consequence, the fundamental role played by borrowing in musical domains situated at the periphery of the Western art music tradition, specifically pre-modern polyphony and twentieth-century musique concrète, has been overlooked. This article seeks to bridge such lacunae in our understanding of musical borrowing via phenomenological investigation into its conceptual and historical foundations. A more comprehensive evaluation of musical borrowing, one capable of accounting for its diverse instantiations while simultaneously disclosing what makes all of them ‘borrowings’ in the first place, is thereby attainable.
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Winemiller, John T. "Recontextualizing Handel's Borrowing." Journal of Musicology 15, no. 4 (1997): 444–70. http://dx.doi.org/10.2307/764003.

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Winemiller, John T. "Recontextualizing Handel's Borrowing." Journal of Musicology 15, no. 4 (October 1997): 444–70. http://dx.doi.org/10.1525/jm.1997.15.4.03a00020.

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MILLER, LETA E. "Lou Harrison and the Aesthetics of Revision, Alteration, and Self-Borrowing." Twentieth-Century Music 2, no. 1 (March 2005): 79–107. http://dx.doi.org/10.1017/s1478572205000204.

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Lou Harrison seems always to have been re-examining his older works, revising or updating them, reworking them into movements of longer compositions, or creating alternative versions. This article examines Harrison’s revisions, alterations, and self-borrowings in terms of both technique and aesthetic objectives. Harrison’s first reworking of a set of short pieces into an extended composition, the Suite for Symphonic Strings of 1960, resulted in a poly-stylistic work he found so attractive that he not only used the self-borrowing technique in later works (such as the Third Symphony) but also incorporated similar contrasts in most of his long works, whether or not they were based on recycled materials. Thus the process of revision and self-borrowing in itself helped Harrison develop a distinctive personal style – one marked by its own eclecticism.
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Degrassi, Franco. "Some Reflections of Borrowing in Acousmatic Music." Organised Sound 24, no. 02 (August 2019): 195–204. http://dx.doi.org/10.1017/s1355771819000232.

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This article begins with an outline of the Manovich general definition of borrowing followed by an introduction to the theme of borrowing in music, particularly within the context of acousmatic music. Two scenarios proposed by Navas in his taxonomy of borrowing are used to further the discussion in relation to material sampling and cultural citation. With reference to material sampling, some examples of remix, appropriation and quoting/sampling taking place within acousmatic music are highlighted. With regards to cultural citation, two levels of reference will be considered: cultural citation from sound arts, that is, intertextuality, and cultural citation from other media, that is, intermediality. The article closes with some reflections a posteriori about my own composition, Variation of Evan Parker’s Saxophone Solos, and how this relates to wider notions of musical borrowing.
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Metzer, David. "Repeated Borrowing: The Case of “Es ist genug”." Journal of the American Musicological Society 71, no. 3 (2018): 703–48. http://dx.doi.org/10.1525/jams.2018.71.3.703.

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“Repeated borrowing” refers to the incorporation of elements of a preexisting work in several new compositions. While various studies have focused on songs that have been frequently borrowed, such as “L'homme armé” and “Apache,” they have not considered what the numerous uses of those songs say about the practice of borrowing. This article discusses quotations of the chorale “Es ist genug” in Alban Berg's Violin Concerto (1935), Bernd Alois Zimmermann's “Ich wandte mich und sah an alles Unrecht, das geschah unter der Sonne”: Ekklesiastische Aktion (1970), David Del Tredici's Pop-Pourri (1968), and Christopher Rouse's Iscariot (1989). As these works illustrate, repeated borrowing enhances aspects of borrowing. In repeated borrowing, borrowing becomes prolific and increasingly referential. Works not only borrow the same melody but also borrow from the ways in which other works use that melody. The works by Zimmermann, Del Tredici, and Rouse, for example, refer to the way Berg's concerto connects a chorale to a twelve-tone row or a secret program. They also expand upon various aspects of borrowing that are emphasized by the concerto: the importance of the cultural meanings of a borrowed work (in the case of “Es ist genug,” associations of death); the internal and external dimensions of borrowing (whether it operates at a deep structural level or appears as an outside element); and the declamatory power of borrowing, which emerges when a borrowing disrupts a work with such force that it seems to be announcing a particular image or idea.
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Burkholder, J. Peter. "Musical Borrowing or Curious Coincidence?" Journal of Musicology 35, no. 2 (2018): 223–66. http://dx.doi.org/10.1525/jm.2018.35.2.223.

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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.
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SAWYER, J. E. "IRONY AND BORROWING IN HANDEL'S 'AGRIPPINA'." Music and Letters 80, no. 4 (November 1, 1999): 531–59. http://dx.doi.org/10.1093/ml/80.4.531.

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Bonet, Núria. "Musical Borrowing in Sonification." Organised Sound 24, no. 02 (August 2019): 184–94. http://dx.doi.org/10.1017/s1355771819000220.

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Sonification presents some challenges in communicating information, particularly because of the large difference between possible data to sound mappings and cognitively valid mappings. It is an information transmission process which can be described through the Shannon-Weaver Theory of Mathematical Communication. Musical borrowing is proposed as a method in sonification which can aid the information transmission process as the composer’s and listener’s shared musical knowledge is used. This article describes the compositional process of Wasgiischwashäsch (2017) which uses Rossini’s William Tell Overture (1829) to sonify datasets relating to climate change in Switzerland. It concludes that the familiarity of audiences with the original piece, and the humorous effect produced by the distortion of a well-known piece, contribute to a more effective transmission process.
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Dissertations / Theses on the topic "Borrowing in music"

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Croukamp, Carmel. "Borrowing and action in Mozart's instrumental music." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543695.

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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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Kim, Jeongin. "Musical Borrowing in Selected Piano Works of Ruth Schonthal." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1415283748.

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Glann, Kerry. "Musical Borrowing in the Choral Music of Andrew Rindfleisch." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822847/.

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American composer Andrew Rindfleisch (b. 1963) has contributed twenty-one pieces to the repertoire of contemporary choral literature to date. His works have been commissioned, premiered, and recorded by notable choral ensembles and performed in significant venues around the country. Influenced by his own early choral singing experience in his native Wisconsin, much of Rindfleisch’s choral music is infused with influences of the music of earlier composers and choral idioms. With these works, Rindfleisch participates in a long-standing trend in choral composition of looking to the musical past for inspiration and procedure while writing in a contemporary harmonic vocabulary, and his efforts can be evaluated through the lens of a study of musical borrowing. Through a case study of five of Rindfleisch’s choral works – “In manus tuas,” “Mille regretz,” “Psalm,” “Anthem,” and “Graue Liebesschlangen” – this document identifies common characteristics of Rindfleisch’s choral music and demonstrates his uses of musical borrowing and allusion. The influence of Renaissance polyphony, Debussy, Brahms, and German expressionism is revealed.
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Kim, Jeongin. "Musical Borrowing in Selected Piano Works of Ruth Schonthal." Thesis, University of Cincinnati, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3685735.

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Ruth Schonthal (1924-2006) was a Jewish-American composer and educator of German birth. She studied with Paul Hindemith at Yale University, yet would eventually reject his compositional style. She favored incorporating and transforming the music of the European tradition, and claimed inspiration from Bach, Beethoven, Chopin, Brahms, Bartók, Scriabin, and Rachmaninoff. Her piano works incorporate and transform borrowed materials from those composers with her own compositional style.

This document analyzes Schonthal's musical borrowing techniques present in selected piano works. I provide a biographical portrait of Schonthal in the first chapter along with her achievements and stylistic influences. The following four chapters are devoted to three musical borrowing techniques that Schonthal employed: modeling, setting, and patchwork. Modeling is divided into two chapters. The first examines her modeling of Romantic piano literature, and the second focuses on modeling pedagogical repertoire. I have employed J. Peter Burkholder's typology of musical borrowing as the foundation for my study.

This topic is important because Schonthal's piano compositions are underrepresented in contemporary piano literature. Her focus on traditional forms ran counter to many of her contemporaries, yet in focusing on the music of the past, she was able to develop a mature compositional style that maintains relevance today. My aim is to provide an insight into Schonthal's mature compositional style and how musical borrowing influenced that style.

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ALFELD, ANNA POULIN. "Unsung Songs: Self-Borrowing in Amy Beach's Instrumental Compositions." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217521725.

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Lee, Myung-Ji. "The Art of Borrowing: Quotations and Allusions in Western Music." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849772/.

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Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the excellence of their own compositions while referring to the work of others? In what ways do artistic allusions influence new compositions? In this dissertation, I attempt to examine these questions and address the reasons for and the effects of musical quotations and allusions.
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Thomerson, John P. "Parody as a Borrowing Practice in American Music, 1965–2015." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1510063658786716.

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Lee, Soo Mi. "Musical Borrowing in Four Twentieth-Century Works for Viola By Hindemith, Bloch, Bacewicz, and Shostakovich." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276530744.

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Cooper, Amy Nicole. "Borrowing Culture: British Music Circulating Libraries and Domestic Musical Practice, 1853-1910." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707295/.

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In Victorian Britain, music circulating libraries libraries operated by music publishers Novello & Co. and Augener & Co. supported upper- and upper-middle-class patrons in their pursuit of cultural capital that would help them perform their socioeconomic status. Studying these libraries in the context of domestic music-making reveals the economic and social impact of these libraries in the lives of amateur musicians and in the music publishing industry. An analysis of the account books in the Novello Business Archives demonstrates that the direct income that Novello & Co., Ltd.'s Universal Circulating Musical Library generated was negligible at best. Yet the fact that the library continued to be part of the business for over forty years indicates that Novello & Co., Ltd. found it to be profitable in some way. In this case, the library could have helped the publisher to attract customers through branding and advertising, in addition to informing publishing decisions by tracking demand. Catalogs for music circulating libraries, as well as for the publishers who owned them, contain lists of library and publisher inventory and pricing. Studying changes in these catalogs reveals how patrons' tastes changed over time. A case study of violin-piano duets in multiple catalogs confirms a continued preference for continental composers over British composers, and another case study of violin-piano duets by Felix Mendelssohn shows a growing taste for arrangements of pieces originally composed for large ensemble. Changing tastes had an effect not only on what music Victorians performed, but also on what pieces publishers offered, and, ultimately, on works' places in the canon.
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Books on the topic "Borrowing in music"

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1944-, O'Nan Larry, and McGary Norman ill, eds. The band music mystery. Wheaton, Ill: Tyndale House, 1988.

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The instrumental music of Iannis Xenakis: Theory, practice, self-borrowing. Hillsdale, NY: Pendragon Press, 2011.

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All made of tunes: Charles Ives and the uses of musical borrowing. New Haven: Yale University Press, 1995.

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Shakespeare and music: Afterlives and borrowings. Cambridge, UK: Polity, 2007.

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Blezzard, Judith. Borrowings in English church music, 1550-1950. London: Stainer & Bell, 1990.

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Blezzard, Judith. Borrowings in English church music, 1550-1950. London: Stainer & Bell, 1990.

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Meconi, Honey. Early Musical Borrowing. Taylor & Francis Group, 2015.

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Honey, Meconi, ed. Early musical borrowing. New York: Routledge, 2004.

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Meconi, Honey. Early Musical Borrowing (Criticism and Analysis of Early Music). Routledge, 2003.

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Rhymin' and Stealin': Musical Borrowing in Hip-Hop. University of Michigan Press, 2013.

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Book chapters on the topic "Borrowing in music"

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Glasser, Jonathan. "Beyond the Borrowing Paradigm." In Music and Encounter at the Mediterranean Crossroads, 108–23. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003008514-7.

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Sæther, Eva. "The Art(s) of Getting Lost: Halting Places for Culturally Responsive Research Methods." In The Politics of Diversity in Music Education, 15–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_2.

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AbstractThis chapter revisits the ideas of radical empiricism and sensuous scholarship, embedded in current music education research. Focusing on the development of methodological implications of cultural responsiveness and arts-based research methods, the chapter argues for epistemic openness. The discussion is located within the author’s own experiences of course development for Swedish music teacher students in Gambia, field studies in multicultural classrooms in Sweden, and research design that includes the fiddle, opening up for music to ask the questions. Borrowing from anthropological research the concepts of radical empiricism and sensuous scholarship, music education researchers might find useful tools to approach project planning, to perform the analysis of the material and to communicate the results in culturally responsive forms that inform both research and praxis. By studying music transmission with culturally sensitive research methods, this chapter suggests possibilities to do more than observing and reporting. There is a possibility to engage with different knowledge systems and politics, in all types of retrieved material – and to generate inclusive knowledge building.
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Karp, Theodore. "XIX. A Test For Melodic Borrowings Among Notre Dame Organa Dupla." In The Computer and Music, edited by Harry B. Lincoln, 293–96. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744167-022.

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"Introduction: Borrowing and Early Music." In Early Musical Borrowing, 14–17. Routledge, 2004. http://dx.doi.org/10.4324/9780203486252-4.

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"Stylistic Borrowing and Pre-Unterweisung Music." In The Music and Music Theory of Paul Hindemith, 87–130. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787441835.005.

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"Borrowing from History, History from Borrowing: Opera on Banjo in J.m. Coetzee’s Disgrace." In Postcolonial Readings of Music in World Literature, 41–65. Routledge, 2012. http://dx.doi.org/10.4324/9780203108154-9.

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"The Borrowing of Emotive Connotation between Fashion and Music." In Engaging with Fashion, 107–18. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004382435_008.

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Pace, Ian. "Negotiating borrowing, genre and mediation in the piano music of Finnissy." In Critical Perspectives on Michael Finnissy, 57–103. Routledge, 2019. http://dx.doi.org/10.4324/9781351031547-5.

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Franklin, M. I. "Loss of Innocence." In Sampling Politics, 93–144. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190855475.003.0004.

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This case of music borrowing/sampling, dating from the late 1970s, encapsulates both the creative potential and ethical hazards of music borrowing, when doing so with “permission” in legal terms yet without full consent from the artists. It revisits My Life in the Bush of Ghosts, from Brian Eno and David Byrne (1981) in which sampled music, from the Arabic world and other sources, feature. This case study spotlights the long-overlooked voice and Lebanese musical traditions of the singer Dunya Yunis, whose performance of a well-known song in Lebanon and the wider region is sampled in two of the best known tracks from Eno and Byrne’s bestselling album. Based on extensive archival work, conversations with musicians, and personal recollections from Ms. Yunis herself, this chapter puts the historical and musical record straight around the Yunis recording sampled on My Life in the Bush of Ghosts, a track from the first volume of a vinyl box-set compilation of ethnomusicological field recordings, entitled Music in the World of Islam I: The Human Voice (Jenkins and Olsen 1976a).
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Carlin, Richard. "7. “Friends in low places”." In Country Music: A Very Short Introduction, 97–116. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780190902841.003.0007.

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“Friends in low places” describes the roles of notable female performers in the new country world: Patty Loveless, Gretchen Wilson, Mary Chapin Carpenter, Lucinda Williams, Gillian Welch, Shania Twain, and Taylor Swift. The 1980s saw a return to country’s roots in reaction to the demise of countrypolitan and the influence of the country outlaws. Honky-tonk revivalists like George Strait, Randy Travis, and Alan Jackson brought traditional country themes of lovin’, cheatin’, drinkin’, and hell-raisin’ back to the top of the country charts. Superstar Garth Brooks modernized the subjects addressed in country music as well as its presentation onstage, borrowing from rock and mainstream performers.
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