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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
Article
Memory and Aesthetics: Study of Musical Quotations in Ives’s and Crumb’s Music
Author(s)
LEUNG Tai-wai David
Full-Text PDF
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DOI:10.17265/2159-5836/2018.06.005
Affiliation(s)
Independant Scholar, Hong Kong China
ABSTRACT
Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation in particular, features so extensively in works of many of the composers. The aim of this paper is to investigate how the use of quoted tunes in a musical piece operates in an interwoven complex where time and space are of the essence. A quote is able to oscillate perpetually between one’s mental worlds of the memorable past and the imaginative present when it is highlighted enough to be recognizable from its surrounding context. Upon interpreting the use of quotation in various contexts, the aesthetic object, I argue, is the shift from original to quoted music, and vice versa. And listeners can respond aesthetically to the quotation itself even without knowledge of its provenance and textual or referential content.
KEYWORDS
aesthetics, collage, emotional response, flashback, imaginary world, memory, metaphor, musical borrowing, melodic quotation, quoted tune, real world, stream-of-consciousness, temporal level
Cite this paper
References
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Gergen, J. K. (1991). The saturated self: Dilemmas of identity in contemporary life. New York: Basic Books.
Gilbert, F. H. (1917). Folk-music in art-music: A discussion and a theory. The Musical Quarterly, 3(4), 577-601.
Griffiths, P. (1981). Modern music: The avant garde since 1945. London: J. M. & Sons Ltd.
Grout, J. D., & Palisca, C. V. (1996). History of the western music (5th ed.). New York: Norton.
Hadow, W. H. (1974). A croatian composer: Notes towards the study of Joseph Haydn. In K. Geiringer (Ed.), Haydn Symphony No.103 in E-flat Major. New York: W. W. Norton and Company.
Hanslick, E. (1986). On the musically beautiful (G. Payzant, Trans.). Indianapolis: Hackett Publishing Company.
Heidsiek, G. R. (1969). Folk quotations in the concert repertoire. Music Educators Journal, 56(1), 51-53.
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Hitchcock, W. H. (1977). Ives: A survey of the music. London: Oxford University Press.
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Humphrey, R. (1954). Stream of consciousness in the modern novel. Los Angeles, Berkeley: University of California Press.
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James, W. (1920). Psychology. London: MacMillan & Co. Ltd,.
Janson, H. W. (1995). History of art (5th ed.). London: Thames and Hudson Ltd.
Johnston, B. (2012). Between Romanticism and Modernism and POstmodernism: George Crumb’s Black Angels. A Journal of the Society for Music Theory, 18(2), 1-14.
Kostelantetz, R., & Darby, J. (1966). Annotation in “Glenn: The prospects of recording”. In R. Kostelantetz and J. Darby (Eds.), Classic essays on twentieth-century music. New York: Schirmer Books.
Kramer, D. J. (2002). The nature and origins of musical postmoderism. In J. Lochhead and J. Auner (Eds.), Postmodern music/postmodern thought. New York: Routledge.
Kundera, M. (1985). The unbearable lightness of being (M. H. Heim, Trans.). New York: Harper and Row.
Kundera, M. (1999). The Book of laughter and forgetting (A. Asher, Trans.). New York: Harper Perennial.
Lakoff, G., & Johnson, M. (1980). Metaphors we live by. Chicago: University of Chicago.
Langer, K. S. (1953). Feeling and form: A theory of art developed from philosophy in a new key. New York: Charles Scribner’s Sons.
Le Goff, J. (1992). History and memory (S. Rendall and E. Claman, Trans.). New York: Columbia University Press.
Marston, N. (1992). Schumann: Fantasie, op. 17. Cambridge: Cambridge University Press.
McClary, S. (2002). Feminie endings: Music, gender, and sexuality. London, Minneapolis: University Minnesota Press.
Meconi, H. (2004). Introduction: Borrowing and early music. In H. Meconi (Ed.), Early musical borrowing. New York and London: Routledge.
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Pasler, J. (2006). Postmodernism: History definitions. In L. Macy (Ed.), Grove Music Online. Retrieved from http://www.grovemusic.com
Piersall, E. (2005). Dialectical relations among pitch structures in the music of George Crumb. In S. Bruns, O. Ben-Amots, & M. D. Grace (Eds.), George Crumb and The Alchemy of Sound. Colorado Springs: Colorado College Music Press.
Powers, H. (1995). Reading Mozart’s music: Text and topic, syntax and sense. Current Musicology, 57, 5-44.
Rochberg, G. (2004). The aesthetics of survival: A composer’s view of twentieth-century music. Ann Arbor: The University of Michigan Press.
Rosen, C. (1995). The romantic generation. Cambridge, Massachusetts: Harvard University Press.
Schacter, L. D. (1996). Searching for memory: The brain, the mind, and the past. New York: Basic Books.
Schwartz, E., & Godfrey, D. (1993). Music since 1945: Issues, materials and literature. Belmont, CA: Schirmer.
Starr, L. (1992). A union of diversities: Style in the music of charles Ives. New York: Schirmer Books.
Stiller, A. (2005). Where’s that sound coming from? John Cage, George Crumb, and the World of Timbre. In In S. Bruns, O. Ben-Amots, & M. D. Grace (Eds.), George Crumb and The Alchemy of Sound: Essays on his music. Colorado: Colorado College Music Press.
Stratford, C. (1945). Introduction to the selection. The Glass Menagerie: A play by Tennessee Williams. New York: Random House.
Straus, N. J. (1990). Remarking the past: Musical modernism and the influence of the tonal tradition. Cambridge: Harvard University Press.
Strunk, O. (1998). (ed.). Source readings in music history. New York: W.W. Norton & Company.
Tia, D. (2000). Music in everyday life. Cambridge: Cambridge University Press.
Turim, M. (1989). Flash backs in film: Memory and history. New York: Routledge.
Berger, A. M. B. (2005). Medieval music and the art of memory. Los Angeles, Berkeley: University of California Press.
Berger, J. (1972). Ways of seeing. London: British Broadcast Corporation and Penguin Books.
Berger, K. (1999). Beethoven and the aesthetic state. Beethoven Forum, 7(1), 17-28.
Berlioz, H. (1971). Fantastic symphony. E. T. Cone (Ed.). New York: W. W. Norton and Company.
Bonds, M. E. (2003). A history of music in western culture. Upper Saddle River, H.J.: Prentice Hall.
Boorman, S. (1974). The early renaissance and dufay. The Musical Times, 115(1577), 560-565.
Bridge, F. (1919-1920). The musical cries of London in Shakespeare’s time. Proceedings of the Musical Association (46th Sess) (pp. 13-20). Oxford: Oxford University Press.
Bruns, S. Ben-Amots, O., & Grace, M. D. (2005). (Eds.). Appendix a: Works list and program notes. George Crumb and The Alchemy of Sound: Essays on his music. Colorado: Colorado College Music Press.
Burkholder, P. (1994). The uses of existing music: Musical borrowing as a field. Notes, 50(3), 851-870.
Burkholder, P. (1995). All made of tunes. London: Yale University Press.
Burkholder, P. (2001). Norton anthology of western music (Vol. 1, 4th ed). New York: W.W. Norton and Company.
Burkholder, P. (2006a). Borrowing: art music after 1950. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006b). Borrowing. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006c). Borrowing: Late eighteenth-century. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006d). Borrowing: Medieval monophony. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006e). Borrowing: Renaissance. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006f). Borrowing: Reworkings and issues of originality. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006g). Borrowing: The baroque era. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006h). Borrowing: Types of borrowing. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006i). Borrowing: 14th century. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006j). Borrowing: Nineteenth-century. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006k). Borrowing: Twentieth-century art music to 1950. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006l). Collage. In L. Macy (Ed.), Grove music online. Retrieved from http://www.grovemusic.com
Burkholder, P. (2006m). Norton anthology of western music (Vol. 1, 5th ed). New York: W.W. Norton and Company.
Burkholder, P. (2006n). Quotation. In L. Macy (Ed.), Grove music online. Retrieved from www.grovemusic.com
Casey, S. E. (2000). Remembering: A phenomenological study (2nd ed.). Bloomington and Indianapolis: Indiana University Press.
Cobussen, M. (2007). Music and spirituality: 13 meditations around George Crumb’s Black Angels. The New Centennial Review, 7(1), 181-211.
Crumb, G. (2005). Chronological works list with program notes. In S. Bruns, O. Ben-Amots, & M. D. Grace (Eds.), George Crumb and The Alchemy of Sound. Colorado Springs: Colorado College Music Press.
Ferries, D. (2000). Schumann’s Eichendorff Liederkreis and The Genre of the Cycle. New York: Oxford University Press.
Fiero, K. G. (1998a). The Humanistic Tradition Book 3: Medieval Europe and the World Beyond (3rd ed.). London: McGraw-Hill.
Fiero, K. G. (1998b). The Humanistic Tradition Book 4: Faith reason, and power in the Early Modern World (3rd ed.). New York: McGraw Hill.
Fleming, W. (1995). Arts and ideas (9th ed.). Forth Worth: Harcourt Brace and Company.
Forney, K. (1999). (Ed.). The Norton Scores: A study anthology (Vol. 1, 8th ed.). New York: W.W. Norton and Company.
Forney, M., & Forney, K. (1999). The enjoyment of music (8th ed.). New York: W. W. Norton.
Frisch, W. (2005). German modernism: Music and the arts. Los Angeles, Berkeley: University of California Press.
Gergen, J. K. (1991). The saturated self: Dilemmas of identity in contemporary life. New York: Basic Books.
Gilbert, F. H. (1917). Folk-music in art-music: A discussion and a theory. The Musical Quarterly, 3(4), 577-601.
Griffiths, P. (1981). Modern music: The avant garde since 1945. London: J. M. & Sons Ltd.
Grout, J. D., & Palisca, C. V. (1996). History of the western music (5th ed.). New York: Norton.
Hadow, W. H. (1974). A croatian composer: Notes towards the study of Joseph Haydn. In K. Geiringer (Ed.), Haydn Symphony No.103 in E-flat Major. New York: W. W. Norton and Company.
Hanslick, E. (1986). On the musically beautiful (G. Payzant, Trans.). Indianapolis: Hackett Publishing Company.
Heidsiek, G. R. (1969). Folk quotations in the concert repertoire. Music Educators Journal, 56(1), 51-53.
Hitchcock, H. W. (1977). Ives: A survey of the music. London: Oxford University Press.
Hitchcock, W. H. (1977). Ives: A survey of the music. London: Oxford University Press.
Hoesterey, I. (2001). Pastiche: Cultural memory in art, film, literature. Bloomington and Indianapolis: Indiana University Press.
Humphrey, R. (1954). Stream of consciousness in the modern novel. Los Angeles, Berkeley: University of California Press.
Ives, E. C. (1972). Memos. J. Kirkpatrick (Ed.). New York: W. W. Norton.
James, W. (1920). Psychology. London: MacMillan & Co. Ltd,.
Janson, H. W. (1995). History of art (5th ed.). London: Thames and Hudson Ltd.
Johnston, B. (2012). Between Romanticism and Modernism and POstmodernism: George Crumb’s Black Angels. A Journal of the Society for Music Theory, 18(2), 1-14.
Kostelantetz, R., & Darby, J. (1966). Annotation in “Glenn: The prospects of recording”. In R. Kostelantetz and J. Darby (Eds.), Classic essays on twentieth-century music. New York: Schirmer Books.
Kramer, D. J. (2002). The nature and origins of musical postmoderism. In J. Lochhead and J. Auner (Eds.), Postmodern music/postmodern thought. New York: Routledge.
Kundera, M. (1985). The unbearable lightness of being (M. H. Heim, Trans.). New York: Harper and Row.
Kundera, M. (1999). The Book of laughter and forgetting (A. Asher, Trans.). New York: Harper Perennial.
Lakoff, G., & Johnson, M. (1980). Metaphors we live by. Chicago: University of Chicago.
Langer, K. S. (1953). Feeling and form: A theory of art developed from philosophy in a new key. New York: Charles Scribner’s Sons.
Le Goff, J. (1992). History and memory (S. Rendall and E. Claman, Trans.). New York: Columbia University Press.
Marston, N. (1992). Schumann: Fantasie, op. 17. Cambridge: Cambridge University Press.
McClary, S. (2002). Feminie endings: Music, gender, and sexuality. London, Minneapolis: University Minnesota Press.
Meconi, H. (2004). Introduction: Borrowing and early music. In H. Meconi (Ed.), Early musical borrowing. New York and London: Routledge.
Meyer, B. L. (1989). Styles and music: Theory, history and ideology. Chicago: The University of Chicago Press.
Mezter, D. (2003). Quotation and cultural meaning in twentieth-century music. Cambridge: Cambridge University Press.
Morgan, P. R. (1991). Twentieth-century music. New York: Norton.
Nietzsche, F. (1980). On the advantage and disadvantage of history for life (P, Preuss, Trans.). Indianapolis: Hackett Publishing Company, Inc..
Nietzsche, F. (1957). On the uses and disadvantages of history for life. The use and abuse of history (M. H. Heim, Trans.). Indianapolis: Bobbs-Merrill.
Pasler, J. (2006). Postmodernism: History definitions. In L. Macy (Ed.), Grove Music Online. Retrieved from http://www.grovemusic.com
Piersall, E. (2005). Dialectical relations among pitch structures in the music of George Crumb. In S. Bruns, O. Ben-Amots, & M. D. Grace (Eds.), George Crumb and The Alchemy of Sound. Colorado Springs: Colorado College Music Press.
Powers, H. (1995). Reading Mozart’s music: Text and topic, syntax and sense. Current Musicology, 57, 5-44.
Rochberg, G. (2004). The aesthetics of survival: A composer’s view of twentieth-century music. Ann Arbor: The University of Michigan Press.
Rosen, C. (1995). The romantic generation. Cambridge, Massachusetts: Harvard University Press.
Schacter, L. D. (1996). Searching for memory: The brain, the mind, and the past. New York: Basic Books.
Schwartz, E., & Godfrey, D. (1993). Music since 1945: Issues, materials and literature. Belmont, CA: Schirmer.
Starr, L. (1992). A union of diversities: Style in the music of charles Ives. New York: Schirmer Books.
Stiller, A. (2005). Where’s that sound coming from? John Cage, George Crumb, and the World of Timbre. In In S. Bruns, O. Ben-Amots, & M. D. Grace (Eds.), George Crumb and The Alchemy of Sound: Essays on his music. Colorado: Colorado College Music Press.
Stratford, C. (1945). Introduction to the selection. The Glass Menagerie: A play by Tennessee Williams. New York: Random House.
Straus, N. J. (1990). Remarking the past: Musical modernism and the influence of the tonal tradition. Cambridge: Harvard University Press.
Strunk, O. (1998). (ed.). Source readings in music history. New York: W.W. Norton & Company.
Tia, D. (2000). Music in everyday life. Cambridge: Cambridge University Press.
Turim, M. (1989). Flash backs in film: Memory and history. New York: Routledge.