This book is divided into three sections: a biography, a psychological profile, and a discussion of his music. The discussion of stylistic borrowings is located in the second section along with discussions of how he relates to church music, how he relates to other people and their opinions and music, and how he relates to his own music. Specific borrowings are considered in the last section, where Decsey discusses each of Bruckner's major works with an eye to the sociological implications associated with each. Biographical reasons for compositional style are proposed and substantiated with sketches, writings, or conjecture. Decsey attempts to lay to rest critics of Bruckner, especially those who decry "formlessness," and "massiveness" in his music.

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker

This article was written to accompany a Deutsche Grammophon set of records on the symphony. It discusses Brahms's symphonies in the style of liner notes for a general audience. Brahms's Symphony No. 3, cited as being influenced by Schumann, includes a "near quotation allusion of the principal theme of the first movement [of Schumann's Rhenish Symphony]."

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker

Quotation in Bruckner's music allows a deep view into his compositional method, psyche, and spiritual state. Bruckner cited his own masses in his symphonies along with quotations from Haydn, Liszt, and Wagner. Long thought to be "absolute" music, Bruckner's compositions carry significant semantic meaning when the composer desired.

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker

Folk songs most accurately reflect the spirit of a people, and art music is an extension of the spirit of the folk song. Three ways composers use folk songs are: "(1) verbatim, as a musical germ from which to develop a composition; (2) verbatim, but having no particular relation to the musical structure; (3) as suggestion--toward the composition of folk-like themes expressive of the folk spirit."

Works: Haydn: Symphony in D Major (583); Weber: Der Freischütz (584); Schumann: Rheinweinlied (585); Brahms: Academische Festoverture (585); Grieg: Humoreske Op. 6, No. 2 (586), No. 1 of Aus dem Volksleben Op. 19 (586), Ballade Op. 24 (586), Improvisata Op. 29 (586), Norwegian Dances Op. 35 (586); Glinka: Life to the Czar (587); Tchaikovsky: Symphony No. 2 (587), String Quartet Op. 11 (587), Piano Concerto in B flat Minor, Op. 23 (587), Marche Slav (587); Borodin: Prince Igor (588), Steppenskizze (588); Rimsky-Korsakov: Fantasie, Op. 6 (589), La Pskovitaine (589), Antar (589), Sinfonietta, Op. 31 (589), La Grand Paque Russe (589); Stravinsky: Firebird (589), Petrouchka (589); Smetana: Die Brandenburger in Böhmen (589), Das Geheimniss (589), Aus meinem Leben (590), Tábor (590), Aus Böhmens Flur und Hain (590); Dvořák: Slavonic Dances (590), Hussitska Overture (590); Liszt: Hungarian Rhapsodies (590), Mazeppa (590), The Battle of the Huns (590), Hungarian Coronation Mass (590), St. Elizabeth (590); Pedrell: Los Pirineos (591); Bizet: L'arlesienne (592).

Index Classifications: General, 1700s, 1900s

Contributed by: Bradley Jon Tucker

Although a general biography, Haas covers specific borrowing on pages 113-57 of his study, where he deals with Bruckner's symphonic music. Haas, as the first editor of Bruckner's collected works, has drawn together a sketch study with biographical material to give an insightful look into developments of particular borrowings that Bruckner used.

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker

Henderson points out in detail the cut and paste approach Prokofiev used to create a symphony from his unsuccessful opera, The Flaming Angel. Entire sections of the opera are simply added one after the other to form the various movements of this orchestral piece. A chart at the end of the article lists the measure numbers of the symphony followed by the location of their sources in the opera.

Index Classifications: 1900s

Contributed by: Bradley Jon Tucker

Information on stylistic borrowing, such as the Viennese Classic style and church music, is located in the preliminary section of this dissertation. Specific information about Bruckner and the Caecilian movement (pp. 29-37) focuses on Bruckner's attitude toward the movement. Details of specific stylistic borrowing and quotation appear from page 270 to the end of the dissertation, including an exhaustive list of borrowings from Bruckner's own sacred music in his symphonies (pp. 289ff). Howie maintains that Bruckner's sacred music is shrouded in spiritualism and symbolism without sacrificing the composer's unique and eclectic compositional style.

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker

A consideration of hermeneutics compounds Lissa's list of methods of citation by proposing the necessity of composer intent in order to defend a possible quotation. The character of the citation is defined by the connection between the composer and the listener, not between the composer and the quoted material. Reasons for parody are found in Bach and Schubert examples, "contrast citation" in Debussy, Beethoven, and Bartók examples, and self quotation in Wagner, Strauss, and Mozart examples. Contemporary composers, such as Cage and Stockhausen, show their affinity for the character of earlier works through citation, even while they vocally reject such styles.

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

Contributed by: Bradley Jon Tucker

Tenets of the Cecilian movement, including stylistic borrowing of Renaissance polyphony, chant-like melodies, and the use of wind music for accompaniment, are found in the music of Bruckner and Liszt. Bruckner's Mass in E Minor, Os justi, and Pange lingua are compared with Liszt's Missa choralis, Gran Mass, and Via crucis. Bruckner and Liszt idealize the movement.

Works: Bruckner: Mass in E Minor (14), Pange lingua (14), Os justi (14); Liszt: Missa choralis (15), Gran Mass (15), Messe für Männerchor (Missa quattuor vocum ad aequales) (15), St. Elizabeth (15), Via crucis (15), Christus (15-16).

Sources: Hymn: Pange lingua (15); Eighth Psalm tone (15); Chant: Rorate coeli, Angelus, Beati Pauperes (15); Hymn: O filii et filiae (16).

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker

Scriabin's Prometheus borrows from Beethoven and Chopin. The design for the work is Beethoven's, while the themes are "Chopinesque." This brief reference is couched in a discussion of aesthetics in Stravinsky, Schoenberg, and Scriabin. Scriabin is called "one of the most generous borrowers time has brought forth." The music of these composers is compared with the art of Kandinsky and the literature of Pound.

Index Classifications: 1900s

Contributed by: Bradley Jon Tucker

Understanding Bruckner's directional markings, such as feierlich and misterioso, is the key to interpreting Bruckner's music. It is these markings that form the main connection between his Masses and his symphonies, not quotation.

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker

In a biography of Bruckner, Watson considers borrowing in the section on his music, particulary in his symphonies, from page 84. This section deals with the quotations and their sources along with a discussion of each symphony, but does not deal with the "why" to any extent. Watson has found quotations that other biographers have not, but does not draw any significance from the findings.

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker

Although Bruckner's piety has been put forth as reason for his use of liturgical music in non-liturgical works, most explanations are too facile. Bruckner's borrowings in his symphonies must be understood in light of his attitude toward other composers, the style of his music in comparison with church music, and his style compared with the beliefs, arts, and institutions of his day. His relationship with Wagner, his foundation in church music, and his fundamentally Romantic harmonic conception are factors, apart from his beliefs, which contributed to his borrowings.

Index Classifications: 1800s

Contributed by: Bradley Jon Tucker