During the 1960s, Peter Maxwell Davies and George Rochberg made extensive use of an integrated compositional approach characterized by the juxtaposition of existing music (especially Baroque and pre-Baroque) with newly-composed music (frequently atonal in style). Two representative works are Davies's Second Fantasia on John Taverner's In Nomine, whose pitch organization relates directly to the "In nomine" portion of the "Benedictus" from Taverner's Missa Gloria tibi Trinitas, and Rochberg's Nach Bach, which synthesizes quotations from J. S. Bach's Partita in E minor, BWV 830, with newly-composed music that borrows pitch organization and motivic, formal, and gestural characteristics from the Bach. A comparative analysis of these works and their use of existing music enriches an understanding of the complex ways that musical borrowing, such as fifteenth-century cantus firmus techniques, parody technique, quodlibet, allusion, and collage, can be manifested.

Index Classifications: 1900s