Musical Borrowing
An Annotated Bibliography

Individual record

[+] Copland, Aaron, and Vivian Perlis. Copland: 1900 Through 1942. New York: St. Martin's/Marek, 1984.

Within the context of a comprehensive autobiography, numerous musical borrowings are considered. The majority of pieces quote or paraphrase American folksongs; these are named when known. Other types of borrowing include arrangement, variations, settings, and self-borrowing. Copland also mentions instances of borrowing in the music of his colleagues.

Works: Aaron Copland: Dance Symphony (86, 163), Vitebsk (160-63), Statements for Orchestra (236), El Salón México (245ff), Second Hurricane (261), Billy the Kid (279-80), Billy the Kid (suite) (284-85), John Henry (291), Lincoln Portrait (342ff), Las Agachadas (355), Rodeo (357), Four Dance Episodes from Rodeo (363); Virgil Thomson: The Plow That Broke the Plains (357, 388n19).

Sources: Aaron Copland: Grohg (86, 163); James W. Blake and Charles B. Lawlor: The Sidewalks of New York (236); El Mosca (246); El Palo Verde (246); La Jesusita (246); La Malacate (246); The Capture of Burgoyne (261); Great Grand-Dad (280, 284-85); The Chisholm Trail (280, 284); Git Along Little Dogies (280, 284); Bury Me Not on the Lone Prairie (284, 354); John Henry (291); Stephen Foster: Camptown Races (342-43); Springfield Mountain (The Pesky Sarpent) (342-43); Ground Hog (357); Old Paint (363, 388n19); If He Be a Buckaroo by Trade (363); Sis Joe (363, 354); Bonyparte (363); McLeod's Reel (363); The Man on the Flying Trapeze (367).

Index Classifications: 1900s

Contributed by: Elizabeth Bergman, Felix Cox

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