When a critic pointed out to Brahms that the finale theme in his
First Symphony was remarkably similar to the Ode to Joy theme in
Beethoven's Ninth, he is said to have replied: "Yes indeed, and
what's really remarkable is that every jackass notices this at
once." Not every musical borrowing is quite so obvious; but the
listener who does perceive one is always left wondering: what does
the similarity mean? In this illuminating book Christopher Reynolds
gives us answers to that complex question.
Reynolds identifies specific borrowings or allusions in a wide
range of nineteenth-century music. He shows the kinds of things
composers do with borrowed musical ideas, and discusses why a
composer would choose to deploy such allusions. A rich historical
background for the practice emerges from his analysis. Musical
borrowing touches directly on issues of central importance for
nineteenth- and twentieth-century composition: notions of
creativity and originality, the constraints of tradition and
innovation, musical symbolism and the listener's ear. In clarifying
what it can mean when one piece of music invokes or refers to
another, Reynolds expands our understanding of what we hear.
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