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Quotation and Cultural Meaning in Twentieth‐Century Music ‐ by David Metzer

Quotation and Cultural Meaning in Twentieth‐Century Music ‐ by David Metzer David Metzer , Quotation and Cultural Meaning in Twentieth‐Century Music ( Cambridge : Cambridge University Press , 2001 ). viii + 230 pp . £47.50 . ISBN 0‐521‐82509‐1 ( hb ). ‘The history of borrowing in music’, observes J. Peter Burkholder, ‘is the history of improvisation, composition and performance’. As Burkholder suggests, the use of pre‐existing material in the Western musical tradition is intrinsic to its understanding. From the Middle Ages to the present, composers and performers have utilised the accessible pre‐existing body of music. Their reasons for doing so, and the techniques by which this was achieved, are in part the history of Western compositional technique and creative intention. Similarly, the study of borrowing is as old as the field of Western musicology itself. As possibly the most significant recent commentator, Burkholder has identified as problematic the tendency to investigate musical borrowing on a repertoire‐by‐repertoire or genre‐by‐genre basis, proposing instead that ‘the use of existing music as a basis for new music is pervasive in all periods and traditions’. With this in mind, he has developed and refined a typology of borrowing, which cultivates an understanding no longer bound by individual traditions, periods or genres. Such an http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Quotation and Cultural Meaning in Twentieth‐Century Music ‐ by David Metzer

Hibberd, Kristian
Music Analysis , Volume 26 (1‐2) – Mar 1, 2007
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Publisher
Wiley
Copyright
© 2008 The Author. Journal compilation © 2008 Blackwell Publishing Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.1468-2249.2007.00256.x
Publisher site
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Abstract

David Metzer , Quotation and Cultural Meaning in Twentieth‐Century Music ( Cambridge : Cambridge University Press , 2001 ). viii + 230 pp . £47.50 . ISBN 0‐521‐82509‐1 ( hb ). ‘The history of borrowing in music’, observes J. Peter Burkholder, ‘is the history of improvisation, composition and performance’. As Burkholder suggests, the use of pre‐existing material in the Western musical tradition is intrinsic to its understanding. From the Middle Ages to the present, composers and performers have utilised the accessible pre‐existing body of music. Their reasons for doing so, and the techniques by which this was achieved, are in part the history of Western compositional technique and creative intention. Similarly, the study of borrowing is as old as the field of Western musicology itself. As possibly the most significant recent commentator, Burkholder has identified as problematic the tendency to investigate musical borrowing on a repertoire‐by‐repertoire or genre‐by‐genre basis, proposing instead that ‘the use of existing music as a basis for new music is pervasive in all periods and traditions’. With this in mind, he has developed and refined a typology of borrowing, which cultivates an understanding no longer bound by individual traditions, periods or genres. Such an

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Music Analysis – Wiley

Published: Mar 1, 2007

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