![]() ![]() Outside the church, poet-singers beginning with the troubadours and trouvГЁres of France and the Minnesingers of Germany often borrowed each other’s tunes for new poems and in some cases responded to each other by quoting fragments Page viii →of text, music, or both. From the Middle Ages on, musicians have adapted these chants in various ways: by troping, lengthening the melody or interpolating new words and music through polyphony, adding one or more melodies that accompany the chant and harmonize with it and in genres of music based on borrowed segments of chant melody, from motets to polyphonic masses. The liturgical songs of the Catholic Church, known as Gregorian chant, often share bits of melody, from general melodic outlines to specific gestures and formulas, showing that the singer-composers who devised these songs shared ideas and freely borrowed from each other in a tradition that stretches back centuries before musical notation was invented and continued well into the Renaissance. We can observe this process of borrowing and reworking throughout the history of Western music, happening in many different ways. The resulting interrelationships between pieces, all covered by the umbrella term intertextuality in music, vary widely and carry meanings that range from obvious to subtle and from trivial to profound, making them a wonderful subject of study. That musical idea can be anything from a rhythm to a whole piece of music, and the new creation can be anything from a lullaby to a symphony. ![]() ![]() Peter Burkholder AS LONG AS PEOPLE have been making music, people have been remaking music: taking a musical idea someone already made and reworking it in some way to make something new. ![]() Page vii → Foreword The Intertextual Network J. ![]()
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