The techniques of quodlibet, quotation, and parody are discussed for a selection of fifteen works written between 1908 and 1970. The reasons for borrowing are considered, along with the categories of renewal, homage, humor, and satire.

Works: Foss: Baroque Variations; Berio: Sinfonia; Rochberg: Nach Bach; Stravinsky: The Fairy's Kiss; Hindemith: Symphonic Metamorphosis, Mathis der Maler; Debussy: "Golliwog's Cakewalk" from Children's Corner; Bartók: Concerto for Orchestra; Berg: Violin Concerto; Crumb: Black Angels.

Index Classifications: 1900s

Contributed by: Marc Moskovitz

Ives's method of quotation is seen as a reworking of borrowed material by altering melodic segments. These modifications range from omission or substitution of several notes to the paraphrasing of a hymn, with preexistent forms used in order to describe and/or serve as a structural foundation. Many musical examples illustrating Ives's techniques are cited. Examples are rhythmic transformation seen in the Fourth Symphony's use of Nettleton, treatment of the head motive of Foster's Old Black Joe in the Three Places in New England, and the improvised qualities of Erie in the First Piano Sonata. The article concludes with a diagram of the architectonic structure of."The 'St. Gaudens' in Boston Common" from Three Places in New England.

Works: Ives: Sonata No. 1 for Violin and Piano (24), Piano Sonata No. 2 ("Concord, Mass., 1840-1860") (24), Three Places in New England (24, 25, 28), Washington's Birthday (25), Symphony No. 4 (24-26), String Quartet No. 2 (24), Three Quarter-tone Piano Pieces (26), Piano Sonata No. 1 (26), Central Park in the Dark (26), Symphony No. 3 (26), General William Booth Enters into Heaven (26), Sonata No. 3 for Violin and Piano (26).

Index Classifications: 1800s, 1900s

Contributed by: Marc Moskovitz

Beethoven's Irische Lieder can be traced to three sources (which, in turn, are the origins of Irish national music): the work of the bards (the Irish equivalent to the German Meistersinger), non-vocal harp tunes (music for dancing, tunes for convivial uses and funeral dirges), and ballads. Beethoven took the preexistent melody and provided a harmony, unaware of the history or nature of the tunes (which often lacked words). The question is posed whether Beethoven's setting of these tunes reflects their true nature.

Index Classifications: 1800s

Contributed by: Marc Moskovitz

Among the various pastoral elements in Beethoven's 6th symphony are the use of a genuine ranz des vaches melody, characteristic Austrian rhythms, bagpipe sounds, and bird calls.

Index Classifications: 1800s

Contributed by: Marc Moskovitz

The title Sudori Musicali indicates that the works within the collection are new settings of works previously published for instrumental ensembles. The revisions include changes in pitch level, mensuration, texture, thematic material, and form. Cavaccio's canzonas testify to his mastery of the Renaissance techniques of parody. A number of parody canzonas are considered, and the article includes a table of both the canzonas of Sudori Musicali and their models.

Index Classifications: 1600s

Contributed by: Marc Moskovitz

In the 3rd movement (Ostinato) of Hindemith's Pittsburgh Symphony, an abrupt tempo/character change occurs, which eventually arrives at a più tranquillo. At this point, there is a quotation from Webern's Symphony, Op. 21. Hindemith makes several alterations: a nearly doubled metronome marking, an octave (higher) displacement, dynamics, and instrumentation. The intervals themselves are also often reversed or omitted.

Index Classifications: 1900s

Contributed by: Marc Moskovitz

The article's first section discusses a quotation found in Die Meistersinger (when the master is so named), which is taken from Die Walküre. The second part lists a number of pieces that use quotations, including Wolf's Grenzen der Menschheit and Corregidor, Bruckner's 2nd Symphony, and Brahms's Intermezzo No. 2, Op. 119.

Works: Wolf: Grenzen der Menschheit (431), Corregidor (431); Bruckner: Symphony No. 2 (431); Brahms: Intermezzo No. 2, Op. 119 (432), Piano Sonata in F Minor, Op. 5 (432).

Index Classifications: General, 1800s

Contributed by: Marc Moskovitz

The works listed below are examples of classical pieces that make use of Hebrew themes.

Works: Ravel: Deux Mélodies Hebraiques (31); Beethoven: String Quartet, Op. 131 (31); Bruch: Kol Nidrei, Op. 47 (32); Schoenberg: Kol Nidre, Op. 39 (32).

Index Classifications: 1800s, 1900s

Contributed by: Marc Moskovitz

Busnois's version of In meinem Sin is used in a sixteenth-century painting by Antoniszoon, entitled Banquet of Seventeen Members of the Civic Guard. Busnois's treatment of the melody is in turn interesting, for it illustrates an attempt at imitative counterpoint, the technique chosen instead of the more traditional cantus firmus structure. In Meinem Sin was a popular tune, existing in many languages, and was known throughout all levels of society.

Works: Anonymous: Bien soiez venu/Alleluya a mi faul canter (double chanson) (138-42); Gombert: Alleluya my fault chanter (1529) (142); Mathias Greiter: In meinem Sinn mir gefällt (143).

Index Classifications: 1500s

Contributed by: Marc Moskovitz

The tune In meinem Sin and a second French version entitled Entre je suis en grant pensee are shown to serve as the melody for thirteen polyphonic compositions of the late fifteenth and early sixteenth centuries. The similarities between the versions are discussed, as are the methods of their incorporation into the various compositions. In particular, Josquin's setting illustrates his preeminence among his contemporaries.

Works: Busnois: In myne zynn; Agricola: In minen sin; Isaac: In meinem sinn; Finck: In meinem sinn; Greiter: In mijnen sinn; Anonymous: In mynem zin; Schnellinger: Quodlibet; Josquin: Entre suis en grant pensee,Entre je suis; Prioris: Par vous je suis.

Index Classifications: 1400s, 1500s

Contributed by: Marc Moskovitz

In the first of two sections, Polnauer traces the alteration of a four-note motive through the second act of Wozzeck, arriving at a motive from Bruckner's D Minor Mass, which Polnauer claims is a clear quotation. Berg was a lifelong lover of Bruckner's music, quoting here from a religious work of Bruckner's for the Bible scene of Wozzeck. Also mentioned is the use of a folksong in Berg's Violin Concerto.

Index Classifications: 1900s

Contributed by: Marc Moskovitz

Influences on one composer by another's work are demonstrated between Haydn and Mozart. In the first of two examples, the rhythmic shape of Mozart's fugal Gigue for Piano, K. 574 parallels the gigue finale of Haydn's C Major Quartet, Op. 20, No. 2. Mozart was familiar with Haydn's quartets Op. 20 and imitated them closely for years. Similarities are also drawn between Haydn's Symphony No. 81 and Mozart's Prague Symphony, including the use of ostinati, a flatted seventh degree within the introductions, similar rhythmic patterns, and the use of new motifs. Influence through structural modeling is then illustrated by a comparison of the finales from Brahms's D Minor Piano Concerto and Beethoven's Piano Concerto in C Minor.

Works: Schubert: Piano Sonata in A Minor, D. 959 (93); Brahms: Piano Sonata in C Major, Op. 1 (93); Scherzo, Op. 4 (93); Piano Concerto No. 2 (94).

Index Classifications: 1700s, 1800s

Contributed by: Marc Moskovitz

Amid the general discussion of the various forms that indebtedness can take (Handel is most specifically discussed), the article questions composers' frequent use of "familiar phrases": Was Wagner aware that the opening notes or intervals from the prelude to Tristan had already been used by Bach, Mozart, Beethoven, Schumann, and Liszt? The main interest focuses on various and sundry quotations, merely citing examples by well-known composers, while no real connection between the quotations is apparent.

Works: Beethoven: Piano Sonata in F Minor, Op. 2 (504-06), Piano Sonata in C Minor, Op. 13 (Pathétique) (503); Wagner: "Anvil" motive from the Ring (504-05); Brahms: Symphony in C Minor (505), Piano Quartet in G Minor (505); Tchaikovsky: Symphony No. 6 (Pathétique) (506); Liszt: Dante Symphony (507); Wagner: Tristan und Isolde (502, 507); Mozart: Don Giovanni (508); Beethoven: Diabelli Variations (508); Brahms: Unüberwindlich (509); Elgar: "The Music Makers," from Enigma Variations (509); Mackenzie: London Day by Day Suite (509), Dream of Jubal (509); Puccini: Madame Butterfly (509); Richard Strauss: Elektra (498); Bach: Wachet, betet (504), Ich hatte viel Bekümmerniss (504), Uns ist ein Kind geboren (504), St. John Passion (504), St. Matthew Passion (504).

Index Classifications: General, 1700s, 1800s, 1900s

Contributed by: Marc Moskovitz

Beethoven paid tribute to Mozart through imitation and borrowing, yet demonstrated his own genius in accepting the influence while assessing his own personality. The article focuses primarily on chamber works, and treats probable influences, direct influences, and "deliberate imitations or unconscious reminiscences" of Mozart's muse.

Works: Beethoven: Leonore Overture No. 3 (249), String Trio, Op. 3 (250), String Quartet, Op. 18, No. 1 (251, 253), String Quintet, Op. 29 (251, 255), Duo for Clarinet and Bassoon (1792) (253), Duet for Augengläser (253-54), String Trio, Op. 9 (253), Serenade for Flute, Violin, and Viola, Op. 25 (253), Quintet for Piano, Oboe, Clarinet, Bassoon, and French Horn, Op. 16 (253), Oboe Trio (254-55), String Quartet, Op. 18, No. 4 (254-55), String Trio in C Minor (256), String Quartet, Op. 18, No. 6 (256), String Quartet, Op. 56, No. 1 (256-57), String Quartet, Op. 131 (256-57); Mozart: Quartet in E-flat Major, String Quintet, K. 515 (254).

Index Classifications: 1700s, 1800s

Contributed by: Marc Moskovitz, J. Peter Burkholder