Thesis (M. Phil.)--University of Hong Kong, 2008. / Also available in print.

published_or_final_version / abstract / Humanities / Master / Master of Philosophy

Thesis (M.M.)--Baylor University, 2006. / Includes bibliographical references (p. 150-152).

Thesis (M.A.)--York University, 2005. Graduate Programme in Musicology & Ethnomusicology. / Typescript. Includes bibliographical references (leaves 74-84). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11889

Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the excellence of their own compositions while referring to the work of others? In what ways do artistic allusions influence new compositions? In this dissertation, I attempt to examine these questions and address the reasons for and the effects of musical quotations and allusions.

Thesis--Indiana University, 2007. / Computer printout. Adviser: Massimo Ossi. Includes bibliographical references (leaves 298-308), abstract, and vita.

This document accompanies and explains the concepts used in the development of the composition, East is East, and West is West, (and Never the Twain Shall Meet). The process for generation and development of much of the musical content of the composition East is East, and West is West, (and Never the Twain Shall Meet) is the use of quoted musical materials. The second process, but equally as important, for development of the composition relies heavily on the idea of parallel development of modular ensembles and how the interactions created between them by sharing instrumentation can be a tool for development, as well as a challenge to the development of each module. Each module has an influence on at least one other module and is also influenced by at least one other module, creating a puzzle of interactions that must be navigated carefully when generating each individually. Both quotation and modularity are concepts employed by other composers, so this document also briefly explains how other composers have approached these concepts in their works in order to establish a historical relationship within the canon of western classical music to East is East, and West is West, (and Never the Twain Shall Meet).

This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein.

The American composer Charles Ives is well known for musical quotation/borrowing: composing music with or from pre-existing musical sources, such as folk tunes, hymns, chants, or other composers' works. His Third Violin Sonata is one of few works that used his unique technique of cumulative setting with only hymn tunes. For analysis of his instrumental music, the text of the hymn tunes is generally disregarded, as the compositions are for instruments. Ives' Third Violin Sonata is challenging to understand in comparison with other violin sonatas, because it lacks information such as titles and subtitles. Even though Ives never mentioned the piece's meanings or extramusical meanings, almost all the elements of the piece indicate hope as a common theme. This dissertation examines which hymn tunes were quoted in the piece, gives the meanings of the hymn tunes, and discusses how Ives uses these tunes as themes with textual meanings. The study includes a brief life of Ives and his historical circumstances and presents a brief musical analysis. The research should give a better understanding of the piece to performers and others curious about it.