[+] Qian, Renkang. "Mozate 'Jie ti fahui' de chuangzuo shijian." Yinyue yishu: Shanghai Yinyue Xueyuan xuebao 2 (2002): 58-65.
Index Classifications: 1700s
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[+] Quereau, Quentin W. "Aspects of Palestrina's Parody Procedure." Journal of Musicology 1 (April 1982): 198-216.
A detailed discussion of Palestrina's choice of borrowed materials (the pre-compositional procedure), using his Missa Salvum me fac as an example, notes the fundamental fact of his borrowing of motives from only one model point of imitation in the model at a time, and six other factors. A detailed discussion of Palestrina's use of those materials (the compositional procedures), using his Missa Nigra sum as an example, notes the differences between model and Mass in density of texture and integration of non-motivic counterpoint. The most common and essential type of polyphonic borrowing in Palestrina's arsenal of parody procedures is his borrowing and transformation of contrapuntal relationships between motive entries.
Works: Palestrina: Missa Salvum me fac (200-10); Missa Nigra sum (211-16).
Index Classifications: 1500s
Contributed by: Jean Pang
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[+] Quereau, Quentin W. "Palestrina and The Motteti Del Fiore of Jacques Moderne: A Study of Borrowing Procedures in Fourteen Parody Masses." Ph.D. diss., Yale University, 1974.
Index Classifications: 1500s
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[+] Quereau, Quentin W. "Sixteenth-Century Parody: An Approach to Analysis." Journal of the American Musicological Society 31 (Fall 1978): 407-41.
A system of graphs is used to facilitate a study of the relationship between a motet and a Mass that is based on it using sixteenth-century parody technique. In the graphs, relationships not immediately apparent from looking at the score become clear, such as the borrowing of the entire complex of a motive and the points of imitation that accompany it, or the relationships among points of imitation that enable them to be combined contrapuntally in a particular manner. The motet Salvum me fac by Jacquet of Mantua and the parody Mass of the motet by Palestrina serve as examples in the graphing process.
Index Classifications: General, 1500s
Contributed by: Nancy Kinsey Totten
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[+] Quinn, Peter. "Out with the Old and In with the New: Arvo Pärt's 'Credo.'" Tempo, no. 211 (January 2000): 16-20.
Arvo Part's best known works were written after the adoption of his tintinnabuli style in 1976, but his experimental works of the 1960s prefigure his new style. While Pärt wrote a number of twelve-tone compositions in the 1960s, in 1964 he began to utilize borrowed music, particularly the music of J. S. Bach. For instance, Pärt's Credo (1968) was his last work to use serial procedures and collage techniques; he borrows J. S. Bach's Prelude No. 1 in C Major, BWV 846/1, and juxtaposes it with a twelve-tone row built on the circle of fifths. These two disparate styles are tied together through a common fundamental structure. The ways in which Pärt renders his borrowed material serve as a preview of how the composer would reconcile disparate material in his later works.
Works: Arvo Pärt: Credo (16-20).
Sources: J. S. Bach: The Well-Tempered Clavier, Book 1, Prelude No. 1 in C Major, BWV 846/1 (17-20).
Index Classifications: 1900s
Contributed by: Kerry O'Brien
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