{"id":1535,"date":"2011-09-07T11:44:52","date_gmt":"2011-09-07T11:44:52","guid":{"rendered":"http:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/reinventions\/?page_id=1535"},"modified":"2017-09-09T15:44:39","modified_gmt":"2017-09-09T15:44:39","slug":"1-musical-borrowing","status":"publish","type":"page","link":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/reinventions\/lectures\/1-musical-borrowing\/","title":{"rendered":"1: Musical Borrowing"},"content":{"rendered":"

In this session we will explore musical borrowing as a field of study as pioneered by the American musicologist Peter Burkholder. In considering this area, it is important to note that ‘borrowing’ and ‘quotation’ are not necessarily synonymous: a composer might use an earlier composition as a model, or ‘quote’ a phrase exactly, or paraphrase a theme so it works more appropriately in the new context. A consideration of the hypotext<\/em> (the older text or texts) and the hypertext<\/em> (the new text) provides a starting point for a discussion of music and meaning within these artistic spheres.<\/p>\n

\"Ives\"

Charles Ives<\/p><\/div>\n

The music of the American composer <\/a>

‘Ives had an extraordinary working life. After professional training as an organist and composer, he worked in insurance for 30 years, composing in his free time. He used a wide variety of styles, from tonal Romanticism to radical experimentation, even in pieces written during the same period. His major works often took years from first sketch to final revisions, and most pieces lay unperformed for decades. His self-publications in the early 1920s brought a small group of admirers who worked to promote his music. He soon ceased to compose new works, focussing instead on revising and preparing for performance the works he had already drafted. By his death he had received many performances and honours, and much of his music had been published. His reputation continued to grow posthumously, and by his centenary in 1974 he was recognized worldwide as the first composer to create a distinctively American art music. Since then his music has been frequently performed and recorded and his reputation has broadened further, resting less on his innovations and nationality and more on the intrinsic merits of his music.’ [Oxford Music Online]<\/div> is often rich in quotation and reference, so it provides a good case study for our exploration. The lecture will introduce some of the terminology created and theorised by Burkholder, which is applied specifically to Ives, but has applications to a range of music types. Burkholder’s approach is summarised in the following questions:<\/p>\n
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