Gershwin's own Suite from his opera Porgy and Bess is a large improvement on the suites composed by Morton Gould and Robert Russell Bennett, in that the orchestration is left alone more often and less new material is written into it than in the other two versions. Basically a "scissors and paste job," the new suite includes some music cut from the opera itself, along with many of the hit songs. The suite demonstrates Gershwin's considerable mastery of orchestral writing and orchestration as well.

Works: Gershwin: Catfish Row: Suite from Porgy and Bess (848-49).

Sources: Gershwin: Porgy and Bess (848-49).

Index Classifications: 1900s

Contributed by: Marc Geelhoed

Examining works of Handel in which he reused earlier pieces with new texts or media reveals that he did not wish to aesthetically improve upon the works from which he borrowed. He sought to adapt the old piece to the new words or instrumentation, not to upgrade it. Yet altering musical detail, such as elucidating or reinforcing harmony (in Agrippina) and enhancing interrelations between elements (in Ode for St. Cecilia's Day), did often result in aesthetic improvement.

Works: Handel: Alexander Balus, "Fair virtue shall charm me" (2), Rinaldo, "Lascia ch'io pianga" (3), Saul, "In sweetest harmony" (3), Agrippina, "E un foco" (4-5), Laudate pueri Dominum, 1707 (5), The Triumph of Time, "Sharp thorns despising" (6), Ode for St. Cecilia's Day (7-10).

Sources: Handel: Apollo e Dafne, "Deh, lascia addolcire" (2), Il Tronfo del Tempo, "Lascia la spina cogl la rosa" (3), Imeneo, "Pieno il core" (3), Arresta il passo, "E un foco" (4-5), Laudate pueri Dominum, ca. 1706 (5), Terpsicore, "Hai tanto" (6); Gottlieb Muffat: Componimenti Musicali per il Cembalo (7-10).

Index Classifications: 1700s

Contributed by: Tamara Balter

The Agnus Dei in the Cambrai m.s. Communale 1328 served as the model for the Sanctus of the Sorbonne Mass and the Sanctus of the Ivrea Mass. A close analysis of their musical relationships, including a comparison of their formal design, texture, motivic treatment and direct musical correspondences, reveals the exact order of their composition. Superior formal coherence and clarity of design suggest the Cambrai was the model that was later expanded by the composer of the Ivrea with frequent interpolations and condensed by the composer of the Sorbonne, who omits large blocks of material. Professor Schrade's (1955) contention that there is a relationship between the Gloria of the Sorbonne Mass and the Credo of the Ivrea is somewhat tenuous; however, such a relationship does exist between a Sanctus from the Apt Manuscript and a Kyrie and Patrem from the Ivrea Manuscript. Based on a comparison of the shared musical material, formal structure, and melodic complexity, one can conclude that the Patrem was either the original upon which the other two were based or it was the link between them. These two examples prove that the parody technique existed in the fourteenth century. These movements should not be considered a precursor to parody, but rather as a separate technique.

Index Classifications: 1300s

Contributed by: Dana Gorzelany-Mostak

When the Ku Klux Klan was revived in the early twentieth century, music co-opted from Protestant hymns, patriotic songs, folk songs, and popular music became an important tool for recruitment and entertainment. Klan songs, published professionally or at home, most frequently addressed topics of patriotism and Klan fraternalism. Many Klan songbooks printed patriotic songs and Christian hymns unaltered. Retexted versions of hymns with Klan symbols inserted were also frequently printed. For example, the little brown church depicted in The Church in the Wildwood is transformed into a burning cross in a Klan derivative, The Fiery Cross in the Vale. Secular music was often co-opted as well with lyrics changed to reflect the Klan’s anti-immigration, anti-Catholic, and anti-Semitic stances. The Ballad of Casey Jones and tunes by Stephen Foster proved especially popular in this regard. Original songs, printed both with and without overt Klan imagery on the cover, were also published. Surprisingly, African Americans are underrepresented as targets in Klan songs. There are even at least ten examples of Ku Klux Klan blues songs, capitalizing on the genre’s popularity to reach a wider audience. In all, over one hundred songs were co-opted by the Klan for propaganda and profit.

Works: Dora C. Goodwin: The Fiery Cross in the Vale (369-70); Anonymous: The Immigrant (372-73); Claudia P. Randolph: contrafactum on The Sidewalks of New York (373); W. R. Rhinehart (publisher): The Klansman’s Friend (374-75), Junior Boys Klan Chorus (375)

Sources: William S. Pitts: The Church in the Wildwood (369-70); Percy Wenrich and Edward Madden: The Red Rose Rag (372-73); Charles B. Lawlor and James W. Blake: The Sidewalks of New York (373); Eddie Newton, Wallace Saunders, and T. Lawrence Seibert: Casey Jones (374-75); William Charles Fry: Lily of the Valley (375)

Index Classifications: 1900s, Popular

Contributed by: Matthew Van Vleet

Prior Salomone Rossi research has suggested that the composer was in no way influenced by the music of the Jewish liturgy, but simply composed his music for the synagogue in the musical language of contemporary church music composers. However, an exception might well be made in the case of Rossi's motet Elohim hasivenu. The canto part to the motet shares a notable melodic likeness to the Elohim hashivenu chant used in the Italian rite. Rossi added melismas to the chant in order to tailor the melody to the motet style.

Works: Rossi: Elohim hasivenu.

Sources: Jewish Liturgy, Italian Rite: Elohim hasivenu, Psalm 80, verse 4 (52-56); Lasso: Cum essem parvulus (57).

Index Classifications: 1600s

Contributed by: Eytan Uslan

Index Classifications: 1700s

Index Classifications: 1900s

Index Classifications: Monophony to 1300

German composer Karl Amadeus Hartmann had a deep appreciation and love of Russian music, partially inspired by his teacher, Hermann Scherchen. Hartmann’s piece Concerto Funebre, premiered in Switzerland in 1940, is a requiem for those who fought against Nazism. In its finale, Hartmann uses a Russian revolutionary song theme Vi zhertvuyu pali v bor’be rokovoi, adding a programmatic meaning to the chamber work. The work’s first two movements function as a modern take on a lamento style aria, expressed through the lonesome theme of the Introduction and the rhapsodic second movement. Concerto Funebre forms a striking example of anti-fascist statements conveyed by artists and musicians in the Third Reich.

Works: Karl Amadeus Hartmann: Concerto Funebre (116–18).

Sources: Anonymous: Vi zhertvuyu pali v bor’be rokovoi (116–17).

Index Classifications: 1900s

Contributed by: Maria Fokina

The long-held attribution of one of the ten Fors seulement masses to Nicholas Gombert is found questionable, as the same Mass is attributed to Jheronimus Vinders in a more reliable manuscript, the "Illustre Lieve Vrouwe Broederschap" in 's-Hertogenbosch ('s-HerAB 74). The Missa fors seulement employs literal cantus prius factus technique, which is uncommon in Gombert's other masses. On the other hand, Vinders's compositions use this technique often. Furthermore, the particular cantus prius factus practice in this Mass places the cantus firmus in the highest voice, which never occurs in the few cantus prius factus compositions that Gombert wrote. In contrast, Vinders's many pieces that use cantus firmus procedures feature this overt appropriation of the cantus firmus. Finally, other musical elements found in the Mass, such as cadential figures, ostinatos and homophonic textures do not correspond with Gombert's style.

Works: Gombert or Jheronimus Vinders: Missa Fors seulement (163-77).

Sources: Ockeghem: Fors seulement l'actente que je meure (163-64); Pipelare: Fors seulement l'attente que je meure (164-66); Févin: Fors seulement la mort, sans nul autre attente (164-66).

Index Classifications: 1500s

Contributed by: Victoria Malawey

Strauss's songs contain a variety of quotations and allusions to preexistent material. The musical borrowings are cited but are not included in separate lists.

Index Classifications: 1800s, 1900s

Contributed by: Fredrick Tarrant

Luther's hymn Ein feste Burg falls into a category of many tunes with a revolutionary cause, from La Marseillaise to John Brown's Body, because it signifies the German Reformation and the religious triumph of Lutheranism. Indeed, Luther's hymn emerges from a vernacular tradition, not only in the translation of the Bible into German, but also in the poetic and musical union meant to appeal to the people in the entire congregation rather than to specific members of the choir and clergy. J. S. Bach, inspired by many Lutheran chorales, chose to exhibit this piece for a Festival of 1730, marking the Bicentenary of the Confession of Augsburg in which the Protestants declared the aims of the Lutheran church. Bach entitled his setting In Festo Reformationis, and he meant for it to represent his piety. Some movements, including the soprano and bass duet as well as the bass recitative, feature the relatively unembellished tune to evoke its military and unifying purposes. In a more complex setting, the chorale fantasia on verse one, Bach uses the tune as a cantus firmus embedded within a set of variations. In addition, later composers such as Mendelssohn and Roderick-Jones, like Bach, use the tune to invoke powerful religious sentiment, whereas Meyerbeer strips it of its religious content and uses it to accompany a ceremonial march.

Works: J. S. Bach: In Festo Reformationis, BWV 80 (16-47); Mendelssohn: Symphony No. 5 in D Minor, Reformation (46); Meyerbeer: Les Huguenots (46); Richard Roderick-Jones: Chanticleer (46).

Sources: Luther: Ein feste Burg (9-15).

Index Classifications: 1700s, 1800s, 1900s

Contributed by: Katie Lundeen

The discovery of the entire textual repertory of Jerusalem chant means that the history of this chant tradition can be traced from its origins in the fourth century to its decline in the twelfth. Testimonies of the tradition from Jerusalem survive in Greek texts which were translated into Georgian when the church of Georgia adopted the rite of Jerusalem as its own. Critical editions of these translations, made from tenth-century manuscripts, have recently been published. These translations show that the Jerusalem chant repertory had a significant influence on later medieval chant repertories in Greek, Syriac, Armenian, and Latin. Furthermore, when texts from the original Jerusalem tradition are borrowed by other traditions, they tend to be set to melodies that are consistent with the modal assignments and neumes of the Georgian sources. This suggests that the features these melodies share do go back in some way to the lost melodies that were once sung in Jerusalem itself.

Index Classifications: Monophony to 1300

Contributed by: Elizabeth Stoner

Chant texts used in Jerusalem from the fourth and fifth centuries onward imported into or shared with other Eastern and Western chant traditions, where medieval adaptations of the melodies survive. The medieval melodies associated with each text have many melodic and modal similarities, despite the wide chronological and geographic dispersal of the chant traditions that preserve them. These similarities are best seen as survivals of the lost Jerusalem melody, particularly because they are consistent with the mode(s) indicated in Jerusalem textual sources. Regardless of shared traits between many chant traditions that may point to a common Jerusalem chant element, each melodic survival reflects a later tradition in accordance with modal and formulaic preferences. The differences between Byzantine, Gregorian, Old Roman, Ambrosian, and Mozarabic melodies reflect extensive reworking and development, but they do not completely obscure essential melodic similarities common across traditions. These similarities are consistent with the modal assignments of now-lost Jerusalem melodies which are preserved in Gregorian and Greek sources. Graduals of the Roman mass and prokeimena of the Byzantine Divine Liturgy are particularly fruitful subjects for study based on the age of their texts and the apparent similarities of their melodies, suggesting a common ancestry in the ancient Jerusalem chant repertoire.

Works: Benedictus qui venit (160-72); Justus ut palma (173-85).

Index Classifications: Monophony to 1300

Contributed by: Elizabeth Stoner

Index Classifications: 1500s

[Cited in Falck 1979; letter discusses a "parody" (i.e., retexting) of a cantata.]

Index Classifications: 1700s

Index Classifications: 1900s

While many writers have been critical of Amadeus for what they regard as trivial treatment of Mozart's music, the music used in the film acts as a structural support for visual rhythm and as a means to unify narratively related scenes through continuity of music, tonality, and motto. For example, Pergolesi's Stabat Mater is used to link three disjunct yet related events having to do with the death of Salieri's father. Milos Forman's use of music also both inscribes and subverts the standard practice of phantasmagoric aesthetics in Hollywood as well as displaying Brechtian alienation, with multiple examples of Brechtian interventions. For example, as soon as Salieri praises The Marriage of Figaro, the Emperor yawns, which obliterates the seriousness of Salieri's jealousy.

Works: Milos Forman (director): Sound track to Amadeus.

Sources: Mozart: Don Giovanni (60, 64-66, 68), Requiem (60, 64), Symphony No. 25 in G Minor, K. 183 (61), Mass in C minor, K. 427 (62), The Magic Flute (Die Zauberflöte) (62), The Abduction from the Seraglio (Die Entführung aus dem Serail) (62-63) The Marriage of Figaro (Le nozze di Figaro) (63-64, 67-68), Piano Concerto in D Minor, K. 466 (64-65, 69), Wind Serenade in B-flat Major, K. 361 (66-68); Pergolesi: Stabat Mater (62, 70).

Index Classifications: 1900s, Film

Contributed by: Karen Anton Stafford

Index Classifications: 1800s

Index Classifications: 1800s

Brahms’s complex feelings for Clara Schumann are demonstrated by the imprint of her emblem into the structural fabric of his most beloved choral compositions. Brahms often employed musical allusions in his works, but rarely provided clues to interpretation for fear of being criticized as an unoriginal composer. Musical allusions serve as a key to understanding Brahms’s thematic sources, and this is evident in his Ein deutsches Requiem, presumably composed in commemoration of Robert Schumann, whose penchant for using musical symbols and ciphers influenced Brahms significantly. Brahms notably inherited the “Clara emblem” from Robert Schumann, referring to the brief melody in the opening movement of his Fantasie, Op. 17, which in turn was borrowed from Beethoven’s song cycle, An die ferne Geliebte, Op. 98. Brahms’s Requiem as well as his Nänie both grapple with the concept of death and consolation, and both works are further connected through the central mother image of the texts. In the B-section of Nänie, a fragment from the fifth movement of the Requiem forms the basis for motivic development, and at a climactic moment, Clara’s emblem appears, sung by the sopranos. Brahms carefully crafted the “Requiem fragment” from the Clara emblem, suggesting it is the essential idea behind most of the fifth movement. The final song of Brahms’s Neue Liebeslieder, Op. 65, also suggests strong connections to the Requiem. It is in ABA’ form, with the second half of the Clara emblem forming the structural basis for both A sections, while the B section is a retrograde treatment of A. Brahms therefore manages to infuse a certain poignancy to his quotation, implying Clara as the source of his sorrows which inspired the composition.

Works: Robert Schumann: Fantasie, Op. 17 (16), Frauenliebe und -leben, Op. 42 (16), String Quartet in F Major, Op. 41, No. 2 (16), Symphony No. 2 in C Major, Op. 61 (16); Brahms: Piano Trio in B Major, Op. 8 (16), Schaffe in mir Gott, Op. 29, No. 2 (16), Nänie, Op. 82 (16), Neue Liebeslieder, Op. 65 (16), Ein deutsches Requiem, Op. 45 (16).

Sources: Beethoven: An die ferne Geliebte, Op. 98 (16); Brahms: Ein deutsches Requiem, Op. 45 (16).

Index Classifications: 1800s

Contributed by: Jingyi Zhang

The years 1794-1795 represent a period of particularly intense growth in Beethoven's early compositional style. His encounter and subsequent training with Haydn was an important factor in this, and Beethoven's compositional development at this time can partly be explained as an attempt to absorb the impact of Haydn's London symphonies in particular, while at the same time establishing his own independence. Beethoven's use and reinterpretation of Haydn's style can be seen in three major areas: (1) the enrichment of texture through polyphony, (2) the coherent assimilation of remote tonal relationships into the tonal language, and (3) the substitution of organic procedures for mechanical ones. In order to illustrate this relationship, a detailed comparison is made between Haydn's Symphony No. 95 in C Minor and Beethoven's Trio Op. 1, No. 3 in the same key.

Index Classifications: 1700s

Contributed by: J. Sterling Lambert

Modernity is characterized by simultaneous pulling between two opposing directions, the lost past and the unlived future, which leaves the individual in an unstable and unsatisfying present. Because of this bifurcation, one experiences the present as fragmented. Music is especially apt at embodying this tension of past, present, and future, as can be seen in nineteenth- and twentieth-century composers’ appropriation of older styles into new idioms, and a renewed interest in those older forms. For example, Mendelssohn’s Preludes and Fugues, Op. 35 combines the general structure and style of Bach’s preludes and fugues with Romantic soloistic virtuosity that is anathema to Baroque aesthetics. The 1920s also saw increased activity in the transcription of works by J. S. Bach, Handel, and Palestrina, among others, with an emphasis on Classical and Baroque forms. Such examples of composers mixing older styles and forms into modern works suggests that we should resist dividing composers into conservative and progressive camps because musical modernity itself occurs in the precarious space between the past and present.

Works: Berg: Wozzeck (86); Bernd Alois Zimmermann: Die Soldaten (86); Camille Saint-Saëns: Le Carnaval des Animaux (97); Hans Pfitzner: Palestrina (105); Schoenberg: Concerto for Cello and Orchestra after a Harpsichord Concerto by G. M. Monn (107), Concerto for String Quartet and Orchestra in B-flat (107); Webern: Ricercare (107); Mendelssohn: Preludes and Fugues, Op. 35 (111); Fauré: Nocturne in E-flat Minor (111-12); Beethoven: Diabelli Variations, Op. 120 (113); Mozart: String Quartet in E-flat Major, K.171 (113), String Quartet in G Major, K.387 (113).

Sources: Offenbach: Orphée aux Enfers (97); G. M. Monn: Harpsichord Concerto (107); Handel: Concerto Grosso in B-flat Major, Op. 6, No. 7 (107); Johann Sebastian Bach: Musical Offering (107), Goldberg Variations (113); Chopin: Prelude in E Minor, Op. 28, No. 4 (111-12).

Index Classifications: General, 1900s

Contributed by: Sarah Kirkman

Shostakovich depended on Bach to confront a tragic state of reality under Soviet rule, and musical co-presence serves as his creative response to the demands placed on his identity. Musical co-presence refers to a blurring of boundaries between past and present due to the incorporation of past work into the fabric of the present work. Both Shostakovich’s 24 Preludes and Fugues and the String Quartet No. 8 exhibit such co-presence and are closely associated with political crises in Shostakovich’s life and with his identity as a composer. It is impossible to isolate the composer’s life from his art; it was in times of crisis when Shostakovich turned to Bach as a mentor figure. Although the 1948 Zhdanov Decree denounced musical formalism, Shostakovich still decided to compose 24 Preludes and Fugues. His response should be interpreted as a strong reaffirmation of his identity as a composer by creating music derived from the very foundations of artistic expression. In doing so, he is heralding his own identity as being more significant than his contemporary cultural conditions. Bach thus represents Shostakovich’s renewed sense of identity under Soviet power. This heavy reliance on Bachian forms displays co-presence instead of allusion, as Bach’s presence constitutes the essence in the innovative design and ideological substance of the entire work. The more closely Shostakovich embodies Bach’s creative modes, the more authentic his own compositional voice becomes. David Fanning asserts that Shostakovich employs a specifically Bachian binary fugue in his work. The String Quartet No. 8 also displays co-presence in the Bachian fugal opening and closing movements.

Works: Shostakovich: Symphony No. 15 in A Major, Op. 141 (41), Prelude and Fugue in C Major, Op. 87, No. 1 (43), Prelude and Fugue in F-sharp Major, Op. 87, No. 13 (44), Prelude and Fugue in C Minor, Op. 87, No. 20 (44), Prelude and Fugue in G Minor, Op. 87, No. 22 (44), String Quartet No. 8 in C Minor, Op. 110 (45), Symphony No. 10 in E Minor, Op. 93 (45), Sonata for Viola and Piano in C Major, Op. 147 (49).

Sources: Rossini: Guillaume Tell (41); Wagner: Der Ring des Nibelungen (41); Shostakovich: The Song of the Forests, Op. 81 (43); Johann Sebastian Bach: Prelude and Fugue No. 1 in C Major, BWV 846, from The Well-Tempered Clavier, Book I (43), Prelude and Fugue No. 9 in E Major, BWV 878, from The Well-Tempered Clavier, Book II (44), Prelude and Fugue No. 2 in C Minor, BWV 871, from The Well-Tempered Clavier, Book II (44), Prelude and Fugue No. 16 in G Minor, BWV 885, from The Well-Tempered Clavier, Book II (45), The Art of Fugue, BWV 1080, Prelude and Fugue No. 4 in C-sharp Minor, BWV 849, from The Well-Tempered Clavier, Book I (45); Beethoven: String Quartet No. 14 in C-sharp Minor, Op. 131 (45); Shostakovich: Tormented by Grievous Bondage (46), Symphony No. 1 in F Minor, Op. 10 (46), Piano Trio No. 2 in E Minor, Op. 67 (46), Cello Concerto No. 1 in E-flat Major, Op. 107 (46), Lady Macbeth of the Mtsensk District, Op. 29 (46); Wagner: Götterdämmerung, WWV 86D (46); Tchaikovsky: Symphony No. 6 in B Minor, Op. 74 (46); Shostakovich: Symphony No. 10 in E Minor, Op. 93 (46); Beethoven: Piano Sonata in C-sharp Minor, Op. 27, No. 2 (49).

Index Classifications: 1900s

Contributed by: Jingyi Zhang

Index Classifications: 1500s, 1600s

Ian Wilson is an Irish-born modern composer whose works often reflect the violent conflict and its devastating effects that Wilson experienced while living in Belfast and Belgrade. One such work, Messenger, was written in Belgrade during the NATO campaign of the 1990s. The second movement of Messenger is almost unique in Wilson’s output, as it is one of only three works acknowledged by the composer to contain musical borrowings. This movement contains an allusion to Brahms’s Lullaby, Op. 49, No. 4; this musical borrowing is unique in Wilson’s work because it is a recognizable musical motif that is used to suggest something quite specific. This allusion to Brahms’s Lullaby is recapitulated in the middle of the fourth movement, another rarity for Wilson. In the second movement the allusion appears in a sparse texture and repeats the Lullaby’s opening minor third quite often. In the fourth movement the allusion is shorter (only three measures), and the often repeated minor third is transposed down a half-step from the second movement. Other recent works by Wilson do not contain allusions to outside musical sources, but do contain some elements of self-quotation. For example, a concerto for piano and strings, titled an angel serves a small breakfast, returns to a technique he first used in his 1998 concerto for piano and strings, Limena. The piano parts of these two works share much melodic material, and the parts of both accompaniments comprise reworked melodic material from the motives of the piano part. an angel serves a small breakfast also contains brass chorales in a style that is highly reminiscent of Messiaen.

Works: Ian Wilson: Messenger (3-4), an angel serves a small breakfast (5-6).

Sources: Brahms: Lullaby, Op. 49, No. 4 (3-4); Ian Wilson: Limena (5-6).

Index Classifications: 1900s

Contributed by: Chelsea Hamm

Ives quoted many diatonic melodies in his songs, which were then transformed chromatically. A process of intervallic alteration created contrasting diatonic links, offered more intervallic material for exploitation, and used a process called "refracted diatonicism." Ives exploits the connections between the various diatonic areas through the use of the tritone.

Works: Ives: The Innate (239-43, 257), The Camp-Meeting (244-45, 256), At the River (245-47, 256, 257), Nov. 2, 1920 (249-51, 256), Hymn (250-53, 255, 258), Old Home Day (256-60).

Sources: Asahel Nettleton or John Wyeth (attr.): Nettleton (240-43); William Bradbury: Woodworth (244-45); Robert Lowry: The Beautiful River (245-47); John Stafford Smith: The Star-Spangled Banner (249-51); William Howard Doane: More Love to Thee (250-53); William Steffe (attrib.): The Battle Hymn of the Republic (257-60).

Index Classifications: 1900s

Contributed by: Felix Cox

Index Classifications: 1900s, Jazz, Popular

Tributism, describing the continuing phenomenon of tribute bands, does not engage historically with its musical sources, but instead presents them atemporally, challenging our ability to locate and validate music. Beginning in Australia during the 1970s, tributism is primarily a “live” phenomenon rather than recorded one, springing from the absence of the original or real musical act. This is different from cover or cabaret bands who perform music by other artists in the presentation of a tribute band as a surrogate for the original without a performing identity of their own. Tribute bands are most successful when emulating the recorded material of their source, creating new “live” versions of a recording. Consequently, bands like The Rolling Stones, who are more famous for their concerts than their albums, do not get as many tribute band as groups like The Beatles, who are most famous for their albums and did not tour for much of their career. Tributism can affect the way an audience views a “real” act as well. Large music festivals, where guests are not inclined to participate with the performance as intimately, can cause re-formed and comeback bands to be received as effectively their own tribute band. Even original bands like Oasis, who co-opt the position and image of The Beatles rather than their music, get mired in tributism. Ultimately, tributism is not self-referential but rather representational, challenging traditional postmodern reading of the phenomenon. The audience of a tribute band effectively becomes more important to the performance than the performers themselves.

Index Classifications: Popular

Contributed by: Matthew Van Vleet

The sketchbooks for Peter Maxwell Davies's Symphony No. 3 can be used to reconstruct the composer's precompositional workings. These sketchbooks illustrate the composer's use of sieving, pitch and durational matrices, and magic squares. The initial operation used is that of sieving, in which the pitch content of the borrowed material is reduced by selecting the portion to be used and omitting repeated pitches from the sieved set. A pitch matrix is a square in which each pitch of the sieved set is placed, much like a twelve-tone row matrix, horizontally across the top of the square. However, the set is also written vertically down the first column of the matrix. The square is then completed through transposition of each row in accordance with the first pitch of that row from the sieved set. To form the durational matrix, each note in the pitch matrix is numbered horizontally across each row, working left to right. Magic squares are mathematically generated squares which can correspond to celestial bodies; for example, Davies uses the Magic Square of Mercury in the Symphony No. 3. Each pitch from the pitch/durational matrix is transferred to the magic square according to its number. Davies subjects his borrowed material, a plainchant, to these manipulations to generate compositional material. Through abstract procedures, Davies creates a new musical work based on borrowed material, but without that material being evident.

Works: Davies: Symphony No. 3. (14-22).

Sources: Anonymous: Sancte Michael Archangele, defende nos in praelio (16, 18).

Index Classifications: 1900s

Contributed by: Christopher Holmes

Index Classifications: 1400s

Index Classifications: 1400s, 1500s

Mussorgsky had a lifelong admiration for the music of Beethoven and Robert Schumann, and their influence is clearly seen throughout his oeuvre. A number of early pieces, such as the Scherzo in B-flat Major and the Intermezzo in modo classico, were clearly modeled on movements from Beethoven’s symphonies, but later works like Boris Godunov and Songs and Dances of Death drew upon Beethoven’s symphonies and late string quartets, as well. Mussorgsky also incorporated many of Schumann’s most notable compositional procedures into his music, including cyclical structures, ostinato-driven melodies, and ambiguous chord progressions. In particular, Schumann’s Fourth Symphony and his Lieder seem to have inspired several passages in Mussorgsky’s art songs. While Mussorgsky was far more critical of Wagner in general, he did not dismiss him completely, and borrowings from Wagner can be traced in Pictures at an Exhibition and Boris Godunov.

Works: Mussorgsky: Scherzo in B-flat Major (47-49), Intermezzo in modo classico (49-50), Alla marcia notturna (50-51), Salammbô (51-52), Boris Godunov (52-54, 57, 62-63), Songs and Dances of Death (54-55, 62), Khovanshchina (55), Pictures at an Exhibition (56-59), No jesli-by s toboju ja vstretit’sja mogla (60), List’ja schumeli unlyo (60), Zhelanije (60), Strekotun’ja beloboka (60-61), Kozjol (61), Zabytiy (61), Kinderlied (62), Ohne Sonne (62).

Sources: Beethoven: Symphony No. 7 in A Minor, Op. 92 (47-48, 50-51), Symphony No. 9 in D Minor, Op. 125 (47-50), Symphony No. 4 in B-flat Major, Op. 60 (48-49, 52-54), Fidelio, Op. 72 (51-52), String Quartet in E Minor, Op. 59, No. 2 (52), String Quartet in C-sharp Minor, Op. 131 (53-54), String Quartet in A Minor, Op. 132 (54-55), Große Fuge, Op. 133 (54-55); Gregorian Chant: Dies irae (54); Wagner: Siegfried (56-57), Lohengrin (57); Robert Schumann: Carnaval, Op. 9 (58-59), Kinderszenen, Op. 15 (58-59), Dichterliebe, Op. 48 (60, 62), Der Bräutigam und die Birke, Op. 119, No. 3 (60-61), Liederalbum für die Jugend, Op. 79 (61), Die beiden Grenadiere, Op. 49, No. 1 (62), Symphony No. 4 in D Minor, Op. 120 (62-63).

Index Classifications: 1800s

Contributed by: Matthew G. Leone

Throughout his career, and especially during his formative years, Wagner was greatly inspired by late Classical and early Romantic music. The influences from German Romantics, particularly Weber and Felix Mendelssohn, and French composers such as Berlioz and Spontini are most apparent, but some of Wagner’s works also reveal a special affinity with Joseph Haydn. Wagner’s borrowings from these composers and others were extensive, with themes, motivic gestures, harmonic progressions, and various other musical devices being incorporated into his music dramas. In some instances, Wagner’s borrowings serve the same dramatic or affective function as they did in the source work, but other times Wagner modifies or transforms the borrowed material for a new purpose or effect. As he matured, Wagner also developed a penchant for self-borrowing, reworking several themes and harmonic techniques from his older compositions into his late music dramas. This use of self-quotation, coupled with Wagner’s advanced procedures of motivic development in his mature works, foreshadows the musical modernism of the twentieth century and the works of Mahler, Berg, Bartók, Ives, and others.

Works: Wagner: Christoph Columbus (43-44), Das Liebesverbot (44-45), Der fliegende Holländer (44-46), Tannhäuser (46-47), Lohengrin (47-53), Das Rheingold (53-56), Die Walküre (56-62), Siegfried (63-65), Tristan und Isolde (65-68), Die Meistersinger von Nürnberg (68-70), Götterdämmerung (71-72), Parsifal (72-75).

Sources: Felix Mendelssohn: Meeresstille und glückliche Fahrt, Op. 27 (43-44), Elijah, Op. 70 (48-49, 52-56, 62-64), Ein Sommernachtstraum, Op. 61 (50-51, 57-58), Paulus, Op. 36 (52), Die schöne Melusine, Op. 32 (53-54), Symphony No. 3 in A Major, Op. 56 (“Scottish”) (60-62), Die Hebriden, Op. 26 (62-63), Symphony No. 5 in D Major/D Minor, Op. 107 (“Reformation”) (73-74); Joseph Haydn: Symphony No. 104 in D Major, Hob.I:104 (“London”) (44-45), String Quartet in D Major, Op. 76, No. 5 (56-57); Weber: Oberon, J. 306 (45-46, 54-56), Euryanthe, J. 291 (47-50, 58-59, 72), Jubel-Ouvertüre, J. 245 (68); Berlioz: Roméo et Juliette, Op. 17 (46-47, 65-68), Symphonie fantastique, Op. 14 (64-65, 67); Franz Schubert: Erlkönig, D. 328 (56-57); Spontini: La Vestale (59-60); Heinrich Marschner: Hans Heiling, Op. 80 (60-61); Liszt: Eine Faust Symphonie, S. 108 (61-62), “Excelsior!” from Die Glocken des Strassburger Münsters, S. 6 (72-74); Robert Schumann: Symphony No. 1 in B-flat Major, Op. 38 (“Spring”) (65); Wagner: Die Walküre (67-68), Tristan und Isolde (70-71, 74), Tannhäuser (70-71, 74), Das Rheingold (74), Lohengrin (74-75); Otto Nicolai: Die lustigen Weiber von Windsor (69); Brahms: Piano Sonata No. 3 in F Minor, Op. 5 (69-70).

Index Classifications: 1800s

Contributed by: Matthew G. Leone

Index Classifications:

Index Classifications: 1500s

Cabezón's tiento on Malheur me bat shows his interest in treatment of selected musical materials rather than an interest in adhering to the complete form of the chanson. The chanson itself is noteworthy for its formal symmetry, its four points of imitation, its descending hexachord, and its density of motives. In Cabezón's setting, he is interested in showing the thematic connections between the chanson's first subject and Psalm Tone 4, which is incorporated at the end of the tiento as a cantus firmus. Cabezón alters the first subject of the chanson before the entrance of the cantus firmus to orient the tiento to mode 4. In the tiento, Cabezón makes imitation a priority by modifying and setting the first subject of the chanson in points of imitation. Cabezón also takes a descending motive from the opening of chanson and exploits it for the climax of the tiento. Besides the imitative treatment of the first subject and the development of two motives, Cabezón makes no reference to the two most prominent features of the chanson: its formal symmetry and its greater variety of motives.

Works: Cabezón: Tiento Quarto tono sobre Malheur me bat (56-57); Josquin: Missa Malheur me bat (58).

Sources: Malcort or Martini: Malheur me Bat (54-55).

Index Classifications: 1500s

Contributed by: Jir Shin Boey

Index Classifications: 1900s

Index Classifications: 1500s

Index Classifications: 1400s, 1500s

Index Classifications: 1900s