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Journal articles on the topic 'Borrowing in music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Payne, Ian. "Another Handel Borrowing from Telemann?. Capital Gains." Musical Times 142, no. 1874 (2001): 33. http://dx.doi.org/10.2307/1004680.

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12

Atwell, Scott David. "Early Musical Borrowing (review)." Notes 62, no. 2 (2005): 382–83. http://dx.doi.org/10.1353/not.2005.0120.

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13

JAMES, RICHARD S. "Ravel's Chansons madécasses: Ethnic Fantasy or Ethnic Borrowing?" Musical Quarterly 74, no. 3 (1990): 360–84. http://dx.doi.org/10.1093/mq/74.3.360.

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14

Balmer, Yves, Thomas Lacôte, and Christopher Brent Murray. "Messiaen the Borrower: Recomposing Debussy through the Deforming Prism." Journal of the American Musicological Society 69, no. 3 (2016): 699–791. http://dx.doi.org/10.1525/jams.2016.69.3.699.

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This article shows, through a new reading of Messiaen's Technique de mon langage musical and examples of his composing with elements found in the music of Debussy, that borrowing plays a more central role in his compositional practices than has previously been recognized. Messiaen's conscious reuse of Debussy's music spans his entire career, and primarily involves passages from Pelléas et Mélisande and a handful of piano works. Using his descriptions of Debussy's influence, his analyses of Debussy, and his own theoretical writings, we examine examples of Messiaen's musical borrowing in terms of compositional strategy. Four groups of case studies show how he transforms borrowed harmonic material, creates meaning, borrows gesture, and composes texture and form by combining different types of borrowed material.

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15

Zalman. "Operatic Borrowing in Stephen Sondheim's Sweeney Todd." American Music 37, no. 1 (2019): 58. http://dx.doi.org/10.5406/americanmusic.37.1.0058.

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16

Giger, Andreas. "A Bibliography on Musical Borrowing." Notes 50, no. 3 (March 1994): 871. http://dx.doi.org/10.2307/898532.

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17

Atchison, Mary. "Bien me sui aperceuz: monophonic chanson and motetus." Plainsong and Medieval Music 4, no. 1 (April 1995): 1–12. http://dx.doi.org/10.1017/s0961137100000851.

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Borrowing or quoting from the trouvère repertory has long been acknowledged as part of the craft of the composers of the thirteenth-century motet. Single strophes from a few trouvère chansons can be found as complete motet voices; partial strophes frame newly composed text and music in motets-entés, and many textual themes and motifs, melodic motifs and refrains can be traced to trouvère sources. Whilst this practice of borrowing can be identified because of the common texts and melodies, or texts or melodies alone, it is difficult to say to what extent other compositional practices, not dependent upon direct quotation, might have found their source and inspiration in the trouvère repertory. An examination of the monophonic chanson Bien me sui aperceuz, and the three-voice motet Se valours / Bien me sui apercheus / Hie factus est, reveals a web of interrelationships between the chanson and the motet which appears far more subtle than the practice of direct borrowing briefly mentioned above. The cryptic clues to these concealed relationships between the chanson and the motet can be found in their texts, whilst the solution is revealed in their melodies.

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18

Krämer, Ulrich. "Quotation and self‐borrowing in the music of Alban Berg∗." Journal of Musicological Research 12, no. 1-2 (March 1992): 53–82. http://dx.doi.org/10.1080/01411899208574659.

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19

Blackburn, Manuella. "Editorial: Borrowing, quotation, sampling and plundering." Organised Sound 24, no. 02 (August 2019): 115–20. http://dx.doi.org/10.1017/s1355771819000153.

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20

Vasquez, Juan Carlos. "Sound Appropriation and Musical Borrowing as a Compositional Tool in New Electroacoustic Music." Leonardo Music Journal 29 (December 2019): 88–92. http://dx.doi.org/10.1162/lmj_a_01070.

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This text presents a compact historical survey of musical borrowing and sound appropriation from medieval chant through the latest digital experiments outside popular music involving extensive use of sampling. It then describes two artistic research projects consisting of a series of pieces that digitally reimagine selected works from the classical music repertoire, including thoughts about the contemporary relevance of giving new life to classical music through the perspective of new media.

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21

Burkholder, J. Peter. "The Uses of Existing Music: Musical Borrowing as a Field." Notes 50, no. 3 (March 1994): 851. http://dx.doi.org/10.2307/898531.

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22

Smart, Mary Ann. "In Praise of Convention: Formula and Experiment in Bellini's Self-Borrowings." Journal of the American Musicological Society 53, no. 1 (2000): 25–68. http://dx.doi.org/10.2307/831869.

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In the 1880s, the realization that Bellini had extensively reused melodies from early or unfinished works in his most famous operas provoked a small aesthetic crisis in Italy. Although today such reuse of material is no longer looked upon as a scandalous breach of compositional integrity, scholars have been slow to examine Bellini's self-borrowings for clues to the evolution of his style or to his attitudes toward the relations between melody and drama. Most of Bellini's self-borrowings show the composer simplifying his melodies, reducing harmonic and melodic variety as if to distance himself from bel canto convention. At the same time, melodic convention is essential to understanding the borrowings, a fact that becomes particularly obvious in those cases where dramatic parallels between the two contexts of a melody are obscure or nonexistent. For example, the recasting of a cheerful cabaletta in Zaira as a lament in I Capuleti e i Montecchi relies on a resemblance between melodic figures conventionally used to imitate tears or laughter-but also critiques those conventions. An allusive relationship between refrains in Il pirata and I puritani similarly derives its logic more from a shared musical evocation of solitude and empty space than from any overt dramatic resemblance between the two scenes. The article argues that for Bellini self-borrowing was entangled with the looser techniques of allusion and reliance on melodic convention. For this reason, study of the self-borrowings provides a model for engaging with the musical language of early nineteenth-century Italian opera, redressing the tendency to dismiss its musical detail as "merely" conventional and thus unworthy of analysis.

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23

Jaunslaviete, Baiba. "The theory of polystylism as a tool for analysis of contemporary music in the postsoviet cultural space: some terminological aspects." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 455–65. http://dx.doi.org/10.31724/rihjj.44.2.8.

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The aim of this article is to discuss some essential concepts related to polystylism – a term first defined by Alfred Schnittke in 1971 and widely used within the post-Soviet cultural space. In the research conducted by various English-speaking musicologists, the term polystylism appears rarely and mostly in relation to Schnittke’s own music, whereas the related concepts of collage and borrowing are covered much more comprehensively. However, collage can be viewed as only a part of polystylism, because it includes only sharp stylistic juxtapositions and does not reflect other forms of stylistic interaction that could be described as diffuse, or symbiotic, polystylism. The theory of borrowing, for its part, covers a chronologically wide range of music (cantus firmus technique, quodlibet, paraphrase, etc.) but does not reflect the specifics of the 20th/21st-century music. The ability to cover these specifics is an advantage of polystylism and related terms, and therefore their broader integration into the international musicological lexicon should be encouraged.

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24

Merlin, Ilya S. "Rhymin' and Stealin': Musical Borrowing in Hip-Hop." Popular Music and Society 37, no. 5 (December 10, 2013): 682–85. http://dx.doi.org/10.1080/03007766.2013.867673.

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25

KASSABIAN, ANAHID. "Would You Like Some World Music with your Latte? Starbucks, Putumayo, and Distributed Tourism." Twentieth-Century Music 1, no. 2 (September 2004): 209–23. http://dx.doi.org/10.1017/s1478572205000125.

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Through an examination of the labels Hear Music and Putumayo and their place in coffee shops and retail stores on the one hand, and of world music scholarship on the other, I argue that listening to world music in public spaces demands new theoretical perspectives. The kinds of tourism that take place in listening to world music inattentively suggest a kind of bi-location. Borrowing from quantum mechanics, I suggest that the term ‘entanglement’ might offer some insight into this bi-location and the ‘distributed tourism’ that I argue is taking place.

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26

Beaudoin, R. "You're There and You're Not There: Musical Borrowing and Cavell's "Way"." Journal of Music Theory 54, no. 1 (March 1, 2010): 91–105. http://dx.doi.org/10.1215/00222909-2010-013.

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27

Cardany, Audrey Berger. "Muddy Waters: His Life and Music." General Music Today 31, no. 3 (February 15, 2018): 73–79. http://dx.doi.org/10.1177/1048371318756626.

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The author reviews Mahin and Turk’s children’s book Muddy: The Story of Blues Legend Muddy Waters. This biography of McKinley Morganfield describes his challenges and successes in music and life. Illustrations reflect African American culture using color palettes to highlight the places Waters lived and the music connected to those places including the Mississippi Delta blues and the electric Chicago blues style. The musical writing of Mahin expresses Muddy’s story in a lyrical fashion, borrowing elements from the jazz idiom. The author includes a selected discography and suggestions for additional instruction in the music of Muddy’s life using the artistic processes of listening, responding, and performing appropriate for upper elementary and middle school students in general music.

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28

Payne, Ian. "A Tale of Two French Suites: An Early Telemann Borrowing from Erlebach." Musical Times 147, no. 1897 (December 1, 2006): 77. http://dx.doi.org/10.2307/25434424.

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Natalia, Violinna Wynsa, Wadiyo Wadiyo, and Udi Utomo. "The Wedding Music Industry: An Adaptation of Andy Irawan Music during the Covid-19 Pandemic." Catharsis 9, no. 3 (December 23, 2020): 210–19. http://dx.doi.org/10.15294/catharsis.v9i3.45347.

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This study aims to identify, reveal, analyze and describe adaptation of Andy Irawan Music's efforts to deal with the Covid-19 pandemic in the wedding music industry. The author uses an interdisciplinary approach, by borrowing theories and concepts from the disciplines of musicology, sociology, and economics. The object in this study is industry and adaptation, with the subject Andy Irawan Music. The research design uses an interpretive case study located in Semarang. The data were collected through observation, interviews, and documentation. The results show that Andy Irawan Music could adapt during the Covid-19 pandemic. Adaptation efforts made by Andy Irawan Music include appearing with new formations, optimizing the use of social media/ digital platforms, applying virtual music, following recommended health protocols, participating in wedding showcases, and creating Andy Irawan Disciples.

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Klein, Jean-Claude. "Borrowing, syncretism, hybridisation: the Parisian revue of the 1920s." Popular Music 5 (January 1985): 175–87. http://dx.doi.org/10.1017/s0261143000001987.

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The show (spectacle), in its urbanised, commercial version, is usually cast in the role of soundboard or crucible, where the meeting of an already finished product and its audience is effected. This conception tends to localise creative musical achievements in a prior moment, and can only envisage the relations between manager, producers and performers as unilateral.

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31

Esse, Melina. "Donizetti's Gothic Resurrections." 19th-Century Music 33, no. 2 (2009): 81–109. http://dx.doi.org/10.1525/ncm.2009.33.2.081.

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Abstract The preponderance of gothic themes in Italian operas of the early nineteenth century is often cited as one of the few ways essentially conservative Italian composers flirted with the Romantic revolution sweeping the rest of Europe. By 1838, the very ubiquity of these tropes led the Venetian reviewer of Donizetti's gory Maria de Rudenz to plead ““exhaustion”” with the ever-present ““daggers, poisons, and tombs”” of the contemporary stage. Based on the French melodrama La Nonne sanglante, Donizetti's sensational opera is almost a litany of gothic tropes. The most disturbing of these is the female body that refuses to die: Maria herself, who rises from the dead to murder her innocent rival. This fleshy specter is musically rendered as a body that is too receptive to emotion, particularly to (imaginary) cries of longing or grief. Significantly, Donizetti's foray into the gothic was also distinguished by a spate of self-borrowing; his 1838 revision of the earlier Gabriella di Vergy borrows material from Maria de Rudenz. Exploring the connections between the trope of gothic resurrection and Donizetti's borrowings highlights how the two works represent a characteristic approach to the gothic, one that mingles a corporeal orientation with more familiar themes of ghostly immateriality.

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Vaicekauskienė, Loreta. "Needs and trends of lexical borrowing in written Lithuanian in 1991-2013." Taikomoji kalbotyra, no. 3 (March 2, 2015): 1–33. http://dx.doi.org/10.15388/tk.2014.17478.

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The paper introduces available databases of new borrowings into Lithuanian and research into their main features and usage in public written texts, including the Internet, in 1991–2013. The research has shown that new borrowings of the Lithuanian language and the process of borrowing follow the same universal and general patterns noticed in other speech communities. Overall, about 1 500 different new borrowings and borrowed derivatives that have entered the Lithuanian language since early 90ies have been included into the databases. Due to the normative tradition of standard written Lithuanian, in more formal domains there is a tendency to graphically highlight borrowings either by inserting the quotation marks or by writing the borrowings in italics. However, in informal Internet texts (chats, commentaries, etc.) the borrowings are usually not highlighted. The morphological adaptation of most borrowings and orthographical adaptation of a large part of them give a clue to the integration potential of the Lithuanian structural paradigms. The distribution of the new borrowings across the word classes follows the patterns identified in other research: most borrowings are nouns, a much lower number of them are adjectives and verbs and a rather insignificant number are adverbs. Most new borrowings in the studied period include borrowings from English (approx. 70 per cent). Borrowings from other languages are much less numerous: depending on a text type, neo-Latinisms make up 5–8 per cent, words of French origin—3–7 per cent, words of Italian origin—4–5 per cent and Greek borrowings—2–3 per cent. The domains that include most new borrowings are technology and engineering, food, economics and business, also music. As already mentioned, borrowings from English clearly dominate in most domains. However, the semantic field of food seems to be the most diverse in terms of the origin of borrowings: most borrowings are of Italian origin, others come from of English, French, Spanish, Japanese and other languages. French and neoclassical borrowings make up more than 70 per cent of all borrowed law terms and almost 40 per cent of the terms of economics and business. The research of new borrowings into Lithuanian reveals fundamental changes in the socio-cultural development of the society and highlights the potential of the Lithuanian language to adapt to the needs of the speakers and to preserve the marks of ongoing cultural changes.

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33

Rachel Lumsden. "“The Pulse Of Life Today”: borrowing in Johanna Beyer's String Quartet No. 2." American Music 35, no. 3 (2017): 303. http://dx.doi.org/10.5406/americanmusic.35.3.0303.

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SHAFFER, MELANIE. "Finding Fortune in Motet 13: insights on ordering and borrowing in Machaut's motets." Plainsong and Medieval Music 26, no. 2 (October 2017): 115–39. http://dx.doi.org/10.1017/s0961137117000055.

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ABSTRACTOn first glance, Machaut's Tans doucement/Eins que ma dame/Ruina (M13) is a typical motet with few musical or textual anomalies. Perhaps this is why, with the exception of a brief article by Alice V. Clark, little extensive, individual study of M13 has been conducted. This article examines the musico-poetic cues for Fortune found in M13’s many forms of reversal, duality and upset order. The discovery of a new acrostic which references the Roman de Fauvel, whose interpolated motet Super cathedram/Presidentes in thronis/Ruina (F4) is the source of M13’s tenor, further supports a Fortune-based reading of this motet. M13 may therefore be included among the Fortune-prominent motets proposed by Anna Zayaruznaya and Jacques Boogaart (M12, M14 and M15). Understanding that Machaut intentionally ordered his motets, M13 fills a sequential gap, suggesting that M12–15 may serve as a meaningfully ordered group of Fortune-based motets. The acrostic's Fauvel reference also provides additional connections between M13 and F4, offering insight into ways Machaut may have responded to and cleverly cited his sources.

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35

Godfrey, John. "London, Queen Elizabeth Hall and Brighton Dome: Big Noise Tour." Tempo 58, no. 228 (April 2004): 61–62. http://dx.doi.org/10.1017/s0040298204240153.

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Big Noise – heard in London on 21 November and repeated at the Dome (Corn Exchange) in Brighton on the 22nd – was a collaboration between the highly idiosyncratic New Music ensembles Orkest de Volharding (Holland) and Icebreaker (UK). The former was established by the amazingly influential Dutch composer Louis Andriessen: reacting against the elitist music of his youth, he saw the need for a new type of Art-music ensemble which could travel into the streets and play music with a broad appeal. Borrowing from the model of Dutch street bands (the equivalent, perhaps, of the UK's brass bands), jazz of the 1920s, Minimal music coming out of America and the European avant-garde, Andriessen created an ensemble and a language with an overt non-elitist agenda.

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36

Hardie, Alistair. "Musical Borrowing as Incarnation: A Theological Reading of Hildegard'sO quam preciosain John Adams'sEl Niño." Contemporary Music Review 29, no. 3 (June 2010): 291–307. http://dx.doi.org/10.1080/07494467.2010.535363.

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Milton, John, and Rosemary Ruck. "Library use by patients in an English maximum security hospital." Psychiatrist 37, no. 6 (June 2013): 188–91. http://dx.doi.org/10.1192/pb.bp.112.039420.

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Aims and methodScant clinical attention is usually paid to (a) forensic patients' reading interests or (b) the potential that library services may offer in providing information and therapy to patients. We undertook a cross-sectional service evaluation of patients' library attendance and use at Rampton high secure hospital in a 12-month period between July 2009 and June 2010.ResultsWe collected information for 326 patients across all 28 wards. Almost 79% used the library service in some way, 66% borrowing music, 67% borrowing books and some borrowing both. Factual books were borrowed more than fiction, with graphic novels, talking books and self-help books about mental disorder all proving popular.Clinical implicationsReading and library use should be considered by clinicians in terms of the positive impact of improving literacy to enhance wider recovery, in relation to the impact of illness and medication effects on reading ability and the potential for providing health-related messages, illness education and reading therapy.

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Tarasti, Eero. "Musical Semiotics – a Discipline, its History and Theories, Past and Present1." Recherches sémiotiques 36, no. 3 (September 20, 2018): 19–51. http://dx.doi.org/10.7202/1051395ar.

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Musical semiotics begins from the premise that music is a signifying phenomenon. However, the field itself has developed according to two distinct paths. The first one starts by considering music and its history. In the study of classical music, for instance, it will begin by considering rhetoric and affect during the Baroque period and then move to consider the topics of the Classical style or the interartistic aspects of Romanticism. The other path consists instead of applying general semiotic theories to music. A more proper approach, I believe, lies somewhere in the middle : it ought to configure general semiotic concepts to the special or historical problems of music. In this essay I give examples from my own work borrowing methodology from the Paris School of Semiotics developed by Greimas and from my own Existential Semiotics model.

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Roig-Marín, Amanda. "Contextualising the emergence of English-induced morphological borrowing in Spanish." Spanish in Context 14, no. 3 (December 30, 2017): 391–412. http://dx.doi.org/10.1075/sic.14.3.03roi.

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Abstract This article concentrates on the competing forces underlying the use of the English morpheme -er in Spanish. Despite some asymmetries concerning the semantics of this morpheme in Spanish and English, I argue that we are witnessing one of the earliest instances of morphological borrowing in Spanish: -er has achieved a unique status in peninsular Spanish in so far as speakers have started to use it productively to mean “an avid fan of X”. In order to support my argument, I provide empirical evidence and place this phenomenon within the framework of both contact language studies and fandom studies, particularly online fandom communities, the forerunners of this linguistic innovation in fields such as music, politics, or TV shows.

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Lindgren, Lowell, and John H. Roberts. "Handel Sources: Materials for the Study of Handel's Borrowing." Notes 45, no. 2 (December 1988): 375. http://dx.doi.org/10.2307/941365.

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Yurayong, Chingduang. "Areal-linguistic approach to the diversity of the generic term for ‘music’ in the world’s languages." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 675–91. http://dx.doi.org/10.31724/rihjj.44.2.23.

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This study uses an areal-linguistic approach to investigate etymologies and to illustrate the geographical distribution of generic terms for ‘music’ in 263 languages from around the world. Of main interest is the issue of borrowing, wherein words spread from certain source languages that are culturally dominant in specific areas. In the present study, six source languages with generic terms for ‘music’ in six musical areas are defined. In addition to these areas, there are also languages that do not borrow, but instead keep or invent native terms for ‘music’. This shows the variation among the different degrees of positive and negative attitudes by language authorities toward internationalism and influence from certain cultural centres in the area, which are reflected in the diversity of the general terms for ‘music’.

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Browner, Tara. ""Breathing the Indian Spirit": Thoughts on Musical Borrowing and the "Indianist" Movement in American Music." American Music 15, no. 3 (1997): 265. http://dx.doi.org/10.2307/3052325.

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Baron, Carol K. "All Made of Tunes: Charles Ives and the Uses of Musical Borrowing . J. Peter Burkholder ." Journal of the American Musicological Society 53, no. 2 (July 2000): 437–44. http://dx.doi.org/10.1525/jams.2000.53.2.03a00090.

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Burkholder, J. Peter. "The Organist in Ives." Journal of the American Musicological Society 55, no. 2 (2002): 255–310. http://dx.doi.org/10.1525/jams.2002.55.2.255.

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Abstract Charles Ives was a professional church organist for thirteen years. An examination of music he played, music he composed for or with organ, and pieces he adapted from his own organ works demonstrates that he was deeply influenced both by his practical knowledge as an organist and by the repertory he performed. This influence is revealed through a surprising number of features of his music, including its relation to improvisation, difficulty of execution, employment of novel sounds to represent extramusical events, approach to orchestration, prominent textural and dynamic contrasts, spatial effects, innovative harmonies, mixture of classical and vernacular traditions, polytonality, use of fugue and pedal point, frequent borrowing of hymn tunes, and cumulative form. In all these areas, Ives's music extends elements in the tradition of organ music, often in new and unique ways, so that many of the extraordinary qualities of his music deemed to be uniquely innovative are seen to have roots in his experiences as an organist.

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Iddon, Martin. "The Instrumental Music of Iannis Xenakis: Theory, Practice, Self-Borrowing (review)." Notes 69, no. 2 (2012): 284–86. http://dx.doi.org/10.1353/not.2012.0144.

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Palmese, Michael. "Miami, New World Center: John Adams's ‘Absolute Jest’." Tempo 67, no. 264 (April 2013): 74. http://dx.doi.org/10.1017/s0040298213000132.

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In conceiving his latest large-scale work for string quartet and orchestra, John Adams states that its inception arose from a lifelong obsession with the music of Beethoven. Out of this fixation, the first impulse for creating a referential work of musical homage came to Adams from hearing a performance of Stravinsky's Pulcinella, a ballet known for its conscious borrowing of material from the 18th-century composer Pergolesi. It is that absorption of another composer's vernacular and fashioning it into a new and unique musical work that provides the primary creative foundation for Absolute Jest.

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NORRIS, RENEE LAPP. "Opera and the Mainstreaming of Blackface Minstrelsy." Journal of the Society for American Music 1, no. 3 (July 17, 2007): 341–65. http://dx.doi.org/10.1017/s1752196307070113.

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In the mid-nineteenth century, blackface minstrelsy entered the mainstream of antebellum popular culture by borrowing from a European musical repertory, drawing on the language of advertisements for legitimate entertainments, and engaging two themes of antebellum popular culture, sentimentality and nationalism. Minstrels' opera parodies used devices similar to the British burlesque tradition: opera in blackface relied on the recontextualization of the original and an unpredictable mingling of sources and subjects. Discussion of three popular blackface opera songs, “I Dreamed Dat I Libed in Hotel Halls,” “See! Sir, See!,” and “Stop Dat Knocking,” demonstrates these processes.

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Baron, Carol K. "Review: All Made of Tunes: Charles Ives and the Uses of Musical Borrowing by J. Peter Burkholder." Journal of the American Musicological Society 53, no. 2 (2000): 437–44. http://dx.doi.org/10.2307/832017.

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GREENE, PAUL. "Mixed messages: unsettled cosmopolitanisms in Nepali pop." Popular Music 20, no. 2 (May 2001): 169–87. http://dx.doi.org/10.1017/s0261143001001398.

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This is an age of jazz. This is an age of having long, tangled hair, and of [young men] wearing an earring, and of wearing caps backwards [with the visor in the back]. And it is also a period of rap. Some raps are known as bhattirap and some are known as party rap. And some are meaningless raps. But at this moment it is a time of deuseerap. Deuseerap!!Opening rap in ‘Deusee rey extended mix’ by Brazesh Khanal(translated from Nepali; underlined words are sung in English)Throughout Asia, the English word ‘mix’ (or variant thereof) is being used today to characterise a new mode of musical borrowing and syncretism distinctive of several pop musics that have emerged in the 1990s. Earlier modes of pop music borrowing typically involve timbral, rhythmic and melodic adaptations of both indigenous and foreign materials, in which contrasts between different musical elements are smoothed over so that they can be integrated into unified musical expressions. In contrast, the new ‘mix’ music of India (Greene 2000, pp. 545–6), Nepal (Greene 1999A; Henderson 1999), Japan (Condry 1999), Indonesia (Wallach 1999) and South Asian diasporic communities (Manuel 1995) employs the latest sound studio technologies in order to reproduce more precisely than ever before the precise timbres, rhythms and tunings of sound bites of both foreign pop and indigenous music. Yet as these foreign and indigenous sounds are coming more sharply into focus in Asian soundscapes, their meanings and histories seem to be going out of focus. For one thing, a ‘mix’ commonly takes the form of a sonic montage: abruptly juxtaposed musical styles heard in rapid succession that project only a weak sense of overarching form. In this ‘mix’ configuration, foreign and indigenous sounds sometimes present themselves as inscrutable sound bites – snippets detached from their original musical and cultural contexts. Mixes typically celebrate sonic contrasts, rather than attempt to reach or move the listener within any single musical idiom. Moreover, foreign sounds travel to Asia so quickly through radio, music television, recordings and the Internet, that they are detached from their histories and original cultural contexts, and often present themselves as suggestive, intriguing, but underdetermined cultural indexes. This point is taken up below in an analysis of Nepali heavy metal, one of the elements in the mix. Both Western pop and indigenous sounds become perspectival constructs, taking on a range of meanings and affective forces in different listener experiences. Mix music embodies new, understudied and essentially postmodern musical aesthetics (in the sense of Manuel 1995) that have taken root in Asian and other world communities.

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Haines, John. "Friedrich Ludwig's ‘Musicology of the Future’: a commentary and translation." Plainsong and Medieval Music 12, no. 2 (October 2003): 129–64. http://dx.doi.org/10.1017/s0961137103003073.

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Friedrich Ludwig's appointment in medieval music at the University of Straßburg came at a crucial time for German musicology, then a new discipline in a flourishing academic environment. Upon entering his post at Straßburg in the autumn of 1905, Ludwig delivered a formal lecture, here translated, in which he outlined the goals for twentieth-century medieval musicology. While many of these goals, in particular the editing of certain theorists and late medieval repertories, have been achieved, other directions implied in Ludwig's synthetic approach have received less attention. Ludwig's own musicology was a creative combination of forces: on the one hand, a reaction to earlier French scholarship in archaeology and philology; on the other, a borrowing of recent German trends in historiography, philosophy and music. Most notable is the influence of Ranke and Hegel on Ludwig's then new concept of latent rhythm (i.e., ‘modal rhythm’) in medieval music. A century of scholarship later, Ludwig's vision for musicology as an innovative interdisciplinary conjunction has much to teach us.

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