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    This document discusses 14 different uses of existing music that composer Charles Ives employed in his works, as outlined in Table 1.2 of the text. The uses range from modeling a work after an existing piece to extended paraphrase of a melody from another tune. The document notes there is some philosophical inconsistency in grouping together categories that include adaptation methods, formal procedures, motivations for borrowing music, and desired effects.

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    This document discusses 14 different uses of existing music that composer Charles Ives employed in his works, as outlined in Table 1.2 of the text. The uses range from modeling a work after an existing piece to extended paraphrase of a melody from another tune. The document notes there is some philosophical inconsistency in grouping together categories that include adaptation methods, formal procedures, motivations for borrowing music, and desired effects.

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    Download as PDF, TXT or read online from Scribd
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    4 views1 page

    Tabela Burkholde Ingles

    Uploaded by

    npinho_7
    This document discusses 14 different uses of existing music that composer Charles Ives employed in his works, as outlined in Table 1.2 of the text. The uses range from modeling a work after an existing piece to extended paraphrase of a melody from another tune. The document notes there is some philosophical inconsistency in grouping together categories that include adaptation methods, formal procedures, motivations for borrowing music, and desired effects.

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    of 1

    the techniques that are unique to certain pieces and the procedures that draw them together becomes

    possible. 30
    Table 1.2: Uses of Existing Music in the Works of Charles Ives
    31

    1. Modeling a work or section on an existing piece, assuming its structure, incorporating part of its melodic material, imitating its form or procedures, or using it as a model in some other way 2. Variations on a given tune 3. Paraphrasing an existing tune to form a new melody, theme, or motive 4. Setting an existing tune with a new accompaniment 5. Cantus firmus, presenting a given tune in long notes against a more quickly moving texture 6. Medley, stating two or more existing tunes, relatively complete, one after another in a single movement 7. Quodlibet, combining two or more existing tunes or fragments in counterpoint or quick succession, most often as a joke or technical tour de force 8. Stylistic allusion, alluding not to a specific work but to a general style or type of music 9. Transcribing a work for a new medium 10. Programmatic quotation, fulfilling an extramusical program or illustrating a part of a text 11. Cumulative setting, a complex form in which the theme, either a borrowed tune or a melody paraphrased from one or more existing tunes, is presented complete only near the end of a movement, preceded by development of motives from the theme, fragmentary or altered presentation of the theme, and exposition of important countermelodies 12. Collage, in which a swirl of quoted and paraphrased tunes is added to a musical structure based on modeling, paraphrase, cumulative setting, or a narrative program 13. Patchwork, in which fragments of two or more tunes are stitched together, sometimes elided through paraphrase and sometimes linked by interpolations 14. Extended paraphrase, in which the melody for an entire work or section is paraphrased from an existing tune

    It is important to understand that, by Burkholders own admission, there is a philosophical inconsistency of including categories of very different types, from methods of adaptation to formal procedures to motivations for borrowing or effects to be
    30 On the appropriateness of applying a study of Ives to another composer: See Robert Morgan, Ives and Mahler, Mutual Responses, 19th Century Music 2 (1978), 72-81. 31 Ibid., All Made of Tunes, 3-4.

    21

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