Musical Borrowing
An Annotated Bibliography

Individual record

[+] Copland, Aaron, and Vivian Perlis. Copland Since 1943. New York: St. Martin's Press, 1989.

This is the companion volume to Copland: 1900 Through 1942. References to musical borrowings occur throughout the text. Much of the borrowing now focuses on associative connections for film scores. Apart from outright arrangements or music intended for student performers, there are few pieces that incorporate American folksongs past The Tender Land (1954). Much of Copland's borrowing in this period is of stylistic traits rather than direct quotation. Self-borrowing is most common in the later works.

Works: Aaron Copland: The North Star (film score) (15-16), Appalachian Spring (32-33), Variations on a Theme by Goosens (61), The Cummington Story (film score) (62-63), Third Symphony (68-69), Tragic Ground (unfinished) (76, 166-67), The Red Pony (film score) (88-91), The Heiress (film score) (98-107), Old American Songs (166-67), The Tender Land (220-21), Three Latin-American Sketches (273), Dance Panels (275-76), Music for a Great City (333-34), Emblems (343-44), Happy Anniversary (261)

Sources: Song of the Fatherland (16); Internationale (16); Simple Gifts (32-33, 166); Aaron Copland: Fanfare for the Common Man (68), Tragic Ground (88) Something Wild (film score) (333-34); I Got Me a Cat (76); So Long, Old Paint (90); Giovanni Martini: Plaisirs d'Amour (100, 106); Daniel Decatur Emmett: The Boatmans's Dance (166); The Dodger (166); Long Time Ago (166); The Little Horses (167); John G. McCurry (attrib.): Zion's Walls (167, 220-21); The Golden Willow Tree (167); Robert Lowry: At the River (167); Ching-a-Ring Chaw (167, 220); Amazing Grace (343); Happy Birthday (361, 375).

Index Classifications: 1900s

Contributed by: Elizabeth Bergman, Felix Cox

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