Musical Borrowing
An Annotated Bibliography

Individual record

[+] Zimmerman, Franklin B. "Musical Borrowings in the English Baroque." The Musical Quarterly 52 (October 1966): 483-95.

Although musical borrowing has become suspect during the past 200 years, it was a commonly accepted aspect of music from the time of Quintilian through the Baroque period. Parody was the most important technique for the use of borrowed material, from both an aesthetic and an historical perspective. Purcell publicly avowed his intention to imitate Italian composers, improving upon his models in most circumstances. Purcell and his contemporaries also used English compositions as models. Handel was extremely prolific in his use of borrowed material and, like Purcell, usually improved upon his models.

Works: Pietro Reggio: Cruda Amarilli (486); Purcell: She loves and she confesses too (487); John Blow: Ah heav'n! What is't I hear (490); William Croft: Thou knowest Lord (491); Handel: "Hallelujah Chorus" from Messiah (495).

Index Classifications: 1600s, 1700s

Contributed by: Fredrick Tarrant

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