“BORROWING”
In order to compose at the kind of speed required by the conditions under which they worked, seventeenth- and eighteenth-century composers frequently resorted to what have come to be called “parody” techniques—that is, to the reuse or recycling of older compositions in newer ones. Every church and theater composer indulged in the practice. There was really no choice. The only question involved the nature of the sources plundered and the specific means or methods employed. Was it only a process of “cannibalization”—eating one’s own young (adapting one’s own works)—or did it involve what would now be regarded as plagiarism? And if the latter, did the practice carry the ethical stigma now attached to plagiarism—or, for that matter, any stigma at all?
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Class of 1685 (II)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Dec. 2024. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Class of 1685 (II). In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Class of 1685 (II)." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-07004.xml
