1566:, particularly when in slow tempo, required the singer to be able to improvise a variation during the return of the main material. During this period, according to Nicholas Cook, it was often the case that "responsibility for the most highly elaborated stage in the compositional process fell not upon the composer but upon the executant. In their instrumental sonatas composers like Corelli, Geminiani, and Handel sometimes supplied the performer with only the skeleton of the music that was to be played; the ornamentation, which contributes crucially to the music's effect, had to be provided by the performer." Cook cites Geminiani's elaboration of Corelli (see above) as an example of an instance "in which the composer, or a performer, wrote down a version of one of these movements as it was meant to be played."
719:, is repeated in altered form or accompanied in a different manner. Theme-and-variation structure generally begins with a theme (which is itself sometimes preceded by an introduction), typically between eight and thirty-two bars in length; each variation, particularly in music of the eighteenth century and earlier, will be of the same length and structure as the theme. This form may in part have derived from the practical inventiveness of musicians; "Court dances were long; the tunes which accompanied them were short. Their repetition became intolerably wearisome, and inevitably led the player to indulge in extempore variation and ornament"; however, the format of the dance required these variations to maintain the same duration and shape of the tune.
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1595:. According to William Austin, the practice of jazz musicians "resembles the variations on popular songs composed for the keyboard at the end of the 16th century by Byrd, Bull, Sweelinck and Frescobaldi, more than the cumulative variations of Beethoven and Brahms." Generally, the theme used is stated quite explicitly at the outset. However, some jazz musicians employ a more oblique approach. According to Gamble, "
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896:, a type in which the basic rhythmic beat is successively divided into smaller and smaller values. The basic principle of beginning with simple variations and moving on to more elaborate ones has always been present in the history of the variation form, since it provides a way of giving an overall shape to a variation set, rather than letting it just form an arbitrary sequence.
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690:. Wilfrid Mellers (1964) wrote that "t called for an improviser of Davis's kind and quality to explore, through Gil Evans' arrangement, the tender frailty inherent in the 'Summer-time' tune... Between them, solo line and harmonic colour create a music that is at once innocent and tense with apprehension".
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1577:) and Beethoven made powerful impressions on their audiences when they improvised. Modern listeners can get a sense of what these improvised variations sounded like by listening to published works that evidently are written transcriptions of improvised performances, in particular Beethoven's
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shows a similar approach. "On 11 October 1939, Coleman
Hawkins went into New York's RCA studios with an eight-piece band to record the 1930 composition Body and Soul. It was already a favourite among jazz musicians, but nobody had ever played it like
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can be appreciated fully only if we are familiar with the tune, for unlike many jazz performances in which the theme is stated at the beginning, followed by improvisations on the theme, Parker launches almost immediately into
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motifs providing a repetitive harmonic basis and are also typically continuous evolving structures. Theme-and-variation forms are, however, based specifically on melodic variation, in which the fundamental musical idea, or
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682:. At the outset, Evans presents a single variation that repeats five times in subtly differing instrumental combinations. These create a compelling background, a constantly-changing sonic tapestry over which trumpeter
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Improvisation by means of spontaneous variations, ornaments, embellishments and/or alterations to a melody is the basis of most sub-Saharan
African music (traditional and pop) extending from melody and
1134:(1873; orchestra). The latter work is believed to be the first set of variations for orchestra alone that was a work in its own right, rather than part of a symphony, suite or other larger work.
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Although the first isolated example emerged in the 14th century, works in theme-and-variation form first emerge in the early sixteenth century. Possibly the earliest published example is the
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Variation techniques are frequently used within pieces that are not themselves in the form of theme and variations. For example, when the opening two-bar phrase of Chopin's
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974:, in which two related themes, usually minor and major, are presented and then varied in alternation; outstanding examples are the slow movement of his
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on this theme. The thirteenth of these stands out in its seemingly wilful eccentricity and determination to reduce the given material to its bare bones:
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Lewis, J. (17 June 2011), "Coleman
Hawkins records Body and Soul: Number 14 in our series of the 50 key events in the history of jazz music",
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describes this variation as "comically disruptive... The original tonal sequence is telescoped, the two-bar sequences being absorbed into the
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2075:, Revised edition of an authorized reprint of a hardcover edition published by McGraw-Hill Book Company, New York: Signet Classic.,
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Variation forms can be written as free-standing pieces for solo instruments or ensembles, or can constitute a
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2281:, University of California Publications in Music, vol. 3, Berkeley: University of California Press
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Keyboard works in variation form were written by a number of 16th-century
English composers, including
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The
Technique of Variation; A Study of the Instrumental Variation from Antonio de CabezĂłn to Max Reger
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wrote a number of sets of variations; some of them rely on themes by older composers, for example the
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type of presentation at a time, while development is carried out upon portions of material treated in
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While most variations tend to elaborate on the given theme or idea, there are exceptions. In 1819,
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D. 810, an intense set of variations on his somber lied (D. 531) of the same title. Schubert's
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of a larger piece. Most jazz music is structured on a basic pattern of theme and variations.
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Variation sets have also been composed by notable twentieth-century composers, including
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Jazz arrangers frequently develop variations on themes by other composers. For example,
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Improvisation of elaborate variations on a popular theme is one of the core genres of
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wrote many variation sets in his career. Some were independent sets, for instance the
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returns later in the piece, it is instantly repeated as an elegant melodic re-working:
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commissioned
Viennese composers to create variations on a waltz that he had composed:
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1479:, Cello Concerto, Op. 58 (and loosely Sinfonia Concertante, Op. 125), final movement
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was frequently used by other composers as a basis for sets of variations during the
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Music in a New Found Land: Themes and
Developments in the History of American Music
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originally implied by the theme with a prolongational series of descending fifths:
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piano sonata, the main second-subject theme of the opening movement, which is in
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In the elaborate eighth variation, Mozart changes from the major to the parallel
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Many composers have taken pieces composed by others as a basis for elaboration.
30:"Theme and Variations" redirects here. For the ballet by George Balanchine, see
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wrote multiple variations in his early works. A further example of the form is
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premiered his
Variations for piano and orchestra on the Austrian National Hymn
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923:. Two famous variation sets from the Baroque era, both originally written for
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Gamble, T. (1984), "Imagination and
Understanding in the Music Curriculum",
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La variation chez Robert
Schumann. Forme et Ă©volution (Diss. Sorbonne 1997)
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397:'s piano piece "Reflets dans l'Eau" (1905) opens with a sequence of chords:
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447:. Sometimes melodic variation occurs simultaneously with the original. In
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These chords open out into arpeggios when they return later in the piece:
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Mozart's first variation decorates and elaborates the plain melodic line:
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for piano and orchestra, and his variations for solo piano on themes by
603:'s Violin Sonata Op. 5 No. 9 opens with this rather sparse melodic line:
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Wennerstrom, Mary (1975). "Form in Twentieth-Century Music" (chap. 1),
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1409:, String Quartet No. 4 "Ascent" (Variations on "Amazing Grace", 1973),
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wrote a great number of variations, such as the first movement of his
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1712:. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall.
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as themes. Amongst them is the slow movement of his string quartet
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1365:(second movement of the Sonata for Violin and Piano, 1947–49, and
1144:(1875) starts out with a set of variations as its first movement.
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Corelli Violin Sonata Op. 5 No. 9, performing version by Geminiani
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Corelli Violin Sonata Op. 5 No. 9, performing version by Geminiani
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Debussy Reflets dans l'Eau, varied recapitulation of the opening
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1827:
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Debussy Reflets dans l'Eau varied recapitulation of the opening
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take their titles from his songs used as variation movements.
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866:, and consists of 16 continuous variations on a ground bass.
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Variazioni canoniche sulla serie dell'op. 41 di A. Schönberg
348:
A complete performance can be heard by following this link:
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1935:
1592:
1441:, for 11 instruments, tape, and live electronics (1976–77),
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The fifth variation breaks up the steady pulse and creates
1314:, Op. 27 for piano, and Variations, Op. 30 for orchestra),
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1849:
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Symphonic Metamorphosis of Themes by Carl Maria von Weber
2209:, London: Associated Board of the Royal Schools of Music
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era, the variation form was developed further. In 1824,
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In a similar fashion, the first of the 24 variations of
2205:
Raymar, Aubyn (1931), "Preface", in Bowen, York (ed.),
1873:
1467:, Forty-eight Variations, for two pianos (1976–80), and
746:
Canonic Variations on "Vom Himmel hoch da komm' ich her
678:
is an example of variation through changing orchestral
1897:
1846:
1573:
era also could improvise variations; both Mozart (see
1473:, Variations on "Happy Birthday" for orchestra (1995).
1264:(Act 1, Scene 4 and the beginning of Act 3 scene 1 of
1230:, Op. 31, and Theme and Variations, Opp. 43a and 43b),
474:
Beethoven Waldstein sonata 1st movement second subject
2017:
American Symphony Orchestra: Dialogues and Extensions
1947:
1838:
sfn error: no target: CITEREFHodeir_and_Pautrot2006 (
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Variations on material originally by other composers
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for piano and orchestra presents a terse summary of
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different presentations and combinations at a time.
1861:
1558:variations on a theme. This was commonplace in the
1057:, D. 667) likewise includes variations on his song
1916:
1833:
1815:
1762:
1747:
1723:
2126:Hodeir, André (2006), Pautrot, Jean-Louis (ed.),
1971:
1798:
1013:, or the variations in the final movement of the
581:List of variations on a theme by another composer
3601:
2333:
2263:, Lille: Presses Universitaires du Septentrion,
181:(1785), known in the English-speaking world as "
2225:The New Grove Dictionary of Music and Musicians
1542:A significant sub-set of the above consists of
1174:(1894) is among his most popular compositions.
443:Follow this link for a complete performance of
273:The seventh variation introduces powerful new
179:Twelve Variations on "Ah vous dirai-je, Maman"
2935:Cinema / television / video
2639:
2625:
2319:
1483:An unusual option was taken in 1952 with the
1092:wrote four sets for solo piano, and also the
626:Corelli's fellow-composer and former student
3469:Palimpsests: Literature in the Second Degree
2227:(2nd ed.), London: Macmillan Publishers
2035:
1941:
1908:sfn error: no target: CITEREFMcCorkcle1976 (
1885:
482:Beethoven Waldstein 1st movement, bars 204-8
127:in an altered form. The changes may involve
2168:Variationen uber ein Thema von Joseph Haydn
2132:, Ann Arbor: University of Michigan Press,
1459:Variations for Winds, Strings and Keyboards
1439:Variaciones sobre la resonancia de un grito
154:Variation is often contrasted with musical
2632:
2618:
2326:
2312:
2207:Mozart: Miscellaneous Pieces for Pianforte
599:. Composed in 1700, the final movement of
40:"Elaboration (music)" redirects here. For
2237:, Englewood Cliffs, N.J.: Prentice-Hall,
1903:
1544:variations on a theme by another composer
1418:The People United Will Never Be Defeated!
1379:, 1949, is a Prologue and 14 variations),
1356:The Young Person's Guide to the Orchestra
1128:Variations and Fugue on a Theme by Handel
1106:, Op. 2, for piano and orchestra (1827).
886:(1538). A favorite form of variations in
408:Debussy Reflets dans l'Eau opening 2 bars
2258:
2215:Sisman, Elaine (2001), "Variations", in
1927:sfn error: no target: CITEREFIrmer1985 (
1549:
1039:wrote five variation sets using his own
869:
644:
632:
630:produced a "playing version" as follows:
617:
605:
534:
522:
504:
492:
477:
465:
434:
422:
416:Debussy Reflets dans l'Eau, opening bars
411:
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377:
365:
339:
327:
295:
283:
259:
247:
227:
215:
199:
187:
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1686:Traditional sub-Saharan African harmony
1294:, Theme, Variations, and Finale (1933),
1242:: XV Gavotta con due variazioni, 1920;
1220:for piano and orchestra, Op. 25, 1914),
169:
14:
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2214:
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2003:
1965:
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1164:(1899) are other well-known examples.
204:Ah je vous dirai maman theme, bars 1-8
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2156:
2146:
1977:
1922:
1855:
1729:
1635:to form and rhythmic embellishments.
1403:, for twelve amplified voices (1979),
1350:Variations on a Theme of Frank Bridge
1255:Variations: Aldous Huxley in memoriam
1029:, and the slow third movement of the
268:
236:
2165:
2057:
1992:
1867:
1768:
1756:
1171:Variations on a Theme by Tchaikovsky
862:for piano, Op. 57, was first called
539:Beethoven, Diabelli Variation No. 13
531:Beethoven, Diabelli Variation No. 13
313:, while combining three techniques:
208:
69:Franz Schubert - Impromptu in B-flat
2147:Irmer, Otto von (1986), "Preface",
1661:Composer tributes (classical music)
1094:Variations on "La ci darem la mano"
1063:D. 550. The second movement of the
1025:, the second movement of his final
24:
2252:
2114:British Journal of Music Education
1710:Aspects of Twentieth-Century Music
1485:Variations on an Elizabethan Theme
1377:Symphony No. 2: The Age of Anxiety
1367:Variations on a Theme by Hindemith
57:
25:
3626:
2287:
1067:comprises a set of variations on
915:variations are the "ciaccone" of
693:
686:freely improvises his own set of
622:Corelli Violin Sonata Op. 5 No. 9
614:Corelli Violin Sonata Op. 5 No. 9
354:
2598:
2294:Classical Music Pages: Variation
2013:
1891:
1645:
1246:: II Tema con variazioni, 1922;
911:. Outstanding examples of early
752:Passacaglia and Fugue in C minor
98:Problems playing this file? See
73:
2120:(1), Cambridge University Press
1451:for cello and rock band (1977),
1304:for piano and orchestra, 1934),
1187:Rhapsody on a Theme of Paganini
560:Rhapsody on a Theme of Paganini
2197:Beethoven and the Voice of God
2060:Music, Imagination and Culture
2043:, New York: Grove Weidenfeld,
1702:
1539:on the Japanese song in 2000.
1132:Variations on a Theme by Haydn
1023:String Quartet No. 12, Op. 127
802:Variations on a Theme of Haydn
50:
13:
1:
3398:Pierre Menard, Author of the
3244:Archetypal literary criticism
2804:Literature / theatre
2189:, London: Barrie and Rockliff
1986:
1575:Mozart's compositional method
1086:Gott erhalte Franz der Kaiser
996:Variations, Op. 120, and the
304:
183:Twinkle, Twinkle, Little Star
151:or any combination of these.
3210:Source criticism in the arts
2878:Readymades of Marcel Duchamp
2129:The André Hodeir Jazz Reader
1554:Skilled musicians can often
1302:Variations on "I Got Rhythm"
1288:for violin and piano, 1932),
1218:Variations on a Nursery Tune
1027:Piano Sonata No. 32, Op. 111
944:Goldberg Variations, BWV 988
516:contributed a mighty set of
344:Ah je vous dirai maman Var 8
336:Ah je vous dirai maman Var 8
300:Ah je vous dirai maman Var 7
292:Ah je vous dirai maman Var 7
264:Ah je vous dirai maman Var 5
256:Ah je vous dirai maman Var 5
232:Ah je vous dirai maman Var 1
224:Ah je vous dirai maman Var 1
196:Ah je vous dirai maman theme
123:technique where material is
7:
3411:Reality Hunger: A Manifesto
2073:What to Listen for in Music
1996:Harvard dictionary of music
1638:
1614:' famous interpretation of
1011:Piano Sonata No. 12, Op. 26
277:, which replace the simple
10:
3631:
3517:Appropriation in sociology
2299:Variations on Greensleeves
2277:Nelson, Robert U. (1948),
2233:White, John David (1976),
2170:(Norton Scores ed.),
791:Symphonies, the Finale of
578:
382:Phrase and variation from
374:Chopin Nocturne in F minor
39:
29:
3522:Articulation in sociology
3500:
3423:
3375:
3325:
3222:
3147:
3119:
3071:
3062:
3045:Revivalism (architecture)
3017:
2934:
2891:
2858:
2849:
2803:
2655:
2648:
2596:
2345:
2259:Ehrhardt, Damien (1998),
2195:Mellers, Wilfrid (1983),
2185:Mellers, Wilfrid (1964),
2062:, Oxford: Clarendon Press
2006:Music in the 20th Century
1583:Variations on an Aria by
1526:Variations for Cello Solo
960:Piano Sonata in A, K. 331
934:The Harmonious Blacksmith
764:D minor solo violin suite
3234:Aesthetic interpretation
2149:Beethoven: KlavierstĂĽcke
2004:Austin, William (1966),
1696:
1228:Variations for Orchestra
698:Variation forms include
3476:The Pictures Generation
3255:The Death of the Author
2102:: 25–55, archived from
2090:Drebes, Gerald (1992),
1834:Hodeir and Pautrot 2006
1581:, Op. 77, and Mozart's
1207:Variations on "America"
1141:Rustic Wedding Symphony
1130:(1861; piano), and the
970:specialized in sets of
962:, or the finale of his
956:Wolfgang Amadeus Mozart
822:Variations Symphoniques
509:Theme by Anton Diabelli
501:Theme by Anton Diabelli
3547:Copyright infringement
3527:Cultural appropriation
1108:Charles-Valentin Alkan
1031:Ninth Symphony, Op.125
929:George Frideric Handel
664:' 1959 arrangement of
650:
642:
623:
615:
540:
532:
510:
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391:
375:
345:
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301:
293:
265:
257:
233:
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205:
197:
62:
3574:Participatory culture
3542:Intellectual property
2235:The Analysis of Music
2166:McCorkle, Donald M.,
2037:Braunbehrens, Volkmar
1550:Improvised variations
1270:, Act 3 interlude in
986:for piano, H XVII:6.
984:Variations in F minor
939:Johann Sebastian Bach
870:History of variations
783:, the Finales of his
648:
640:
621:
613:
538:
530:
508:
500:
481:
473:
438:
430:
415:
407:
381:
373:
343:
335:
299:
291:
263:
255:
231:
223:
203:
195:
61:
3249:Artistic inspiration
3073:Intertextual figures
3040:Parody advertisement
2410:Developing variation
1993:Apel, Willi (1962),
1666:Developing variation
1401:Hymns and Variations
1151:Symphonic Variations
1117:Variations sérieuses
1046:Death and the Maiden
990:Ludwig van Beethoven
842:Death and the Maiden
445:"Reflets dans l'Eau"
170:Variation techniques
33:Theme and Variations
3584:Recontextualisation
3537:Information society
3532:History of printing
3512:Academic dishonesty
3273:Genius (literature)
2962:Literal music video
2873:Photographic mosaic
2668:Chopped and screwed
2570:Thirty-two-bar form
2435:Formula composition
1579:Fantasia in G Minor
1520:Gestural Variations
1445:Andrew Lloyd Webber
1285:Thème et variations
1182:Sergei Rachmaninoff
1065:Fantasie in C major
780:Diabelli Variations
628:Francesco Geminiani
388:Nocturne in F minor
361:Nocturne in F minor
18:Theme and variation
3261:Divine inspiration
3050:Video game modding
2892:By source material
2151:, Munich: G. Henle
1599:'s performance of
1536:Sakura-Variationen
1435:CristĂłbal Halffter
1322:Harp Concerto in E
1051:Piano Quintet in A
917:Claudio Monteverdi
651:
643:
624:
616:
541:
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511:
503:
484:
476:
441:
433:
418:
410:
392:
376:
346:
338:
302:
294:
269:Harmonic variation
266:
258:
237:Rhythmic variation
234:
226:
206:
198:
63:
3615:Variation (music)
3597:
3596:
3504:artistic concepts
3492:Russian formalism
3218:
3217:
3058:
3057:
2947:Anime music video
2930:
2929:
2922:Statue of Liberty
2720:Musical quotation
2663:Bootleg recording
2607:
2606:
2590:Verse–chorus form
2545:Sonata rondo form
2380:Call and response
2360:Ausmultiplikation
2139:978-0-472-09883-5
1942:Braunbehrens 1990
1569:Musicians of the
1531:Helmut Lachenmann
1515:Graham Waterhouse
1431:for organ (1975),
1429:De grote variatie
1397:Variations I–VIII
1373:Leonard Bernstein
1252:: III, 1945; and
1224:Arnold Schoenberg
1161:Enigma Variations
1112:Felix Mendelssohn
972:double variations
888:Renaissance music
812:Enigma Variations
729:Examples include
672:" from the opera
638:
611:
601:Arcangelo Corelli
528:
498:
471:
428:
405:
371:
333:
289:
253:
221:
209:Melodic variation
193:
109:
108:
78:
16:(Redirected from
3622:
3416:
3406:
3393:
3224:Related artistic
3190:Imitation in art
3160:Assemblage (art)
3069:
3068:
2868:Combine painting
2856:
2855:
2841:Verbatim theatre
2816:Cut-up technique
2715:Music plagiarism
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2634:
2627:
2620:
2611:
2610:
2602:
2575:Through-composed
2328:
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2314:
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2282:
2273:
2247:
2228:
2210:
2200:
2190:
2180:
2161:
2152:
2142:
2121:
2107:
2085:
2063:
2058:Cook, N (1990),
2053:
2041:Mozart in Vienna
2032:
2031:
2029:
2020:, archived from
2009:
1999:
1981:
1975:
1969:
1963:
1957:
1951:
1945:
1939:
1933:
1932:
1920:
1914:
1913:
1901:
1895:
1889:
1883:
1882:, p. 25–55.
1877:
1871:
1865:
1859:
1858:, p. 64–65.
1853:
1844:
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1706:
1655:
1650:
1649:
1648:
1533:composed a trio
1517:composed a trio
1493:Benjamin Britten
1477:Sergei Prokofiev
1413:Frederic Rzewski
1345:Benjamin Britten
1327:
1326:
1280:Olivier Messiaen
1015:Third Symphony (
1006:
1005:
976:Symphony No. 103
964:Clarinet Quintet
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3579:Pirate politics
3552:Derivative work
3505:
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3404:
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3371:
3367:Story structure
3362:Stock character
3342:Formula fiction
3330:
3328:
3327:Standard blocks
3321:
3227:
3225:
3214:
3143:
3115:
3064:
3054:
3013:
2942:Abridged series
2926:
2914:Michelangelo's
2906:Michelangelo's
2887:
2852:
2845:
2831:Jukebox musical
2799:
2644:
2638:
2608:
2603:
2594:
2341:
2332:
2290:
2271:
2255:
2253:Further reading
2245:
2199:, London: Faber
2178:
2140:
2106:on 3 March 2016
2096:SchĂĽtz-Jahrbuch
2083:
2051:
2027:
2025:
2024:on 5 March 2009
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1641:
1616:"Body and Soul"
1612:Coleman Hawkins
1602:Embraceable You
1552:
1505:Michael Tippett
1501:Humphrey Searle
1489:Lennox Berkeley
1375:(part 1 of his
1347:(including the
1324:
1323:
1318:Reinhold Glière
1298:George Gershwin
1234:Igor Stravinsky
1124:Johannes Brahms
1090:Frédéric Chopin
1003:
1002:
1001:Variations in E
921:Heinrich SchĂĽtz
884:Luis de Narváez
872:
827:Richard Strauss
797:Fourth Symphony
696:
666:George Gershwin
633:
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544:Wilfrid Mellers
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3148:Other concepts
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2972:Re-cut trailer
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2740:Plunderphonics
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2550:Song structure
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2505:Recapitulation
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2288:External links
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2217:Sadie, Stanley
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2069:Copland, Aaron
2065:
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2033:
2011:
2008:, London: Dent
2001:
1988:
1985:
1983:
1982:
1970:
1958:
1956:, p. 185.
1946:
1944:, p. 198.
1934:
1915:
1904:McCorkcle 1976
1896:
1884:
1872:
1870:, p. 784.
1860:
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1814:
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1795:, p. 115.
1785:
1783:, p. 356.
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1744:, p. 386.
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1683:
1678:
1676:Matrix (music)
1673:
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1657:
1656:
1640:
1637:
1597:Charlie Parker
1562:era, when the
1551:
1548:
1509:William Walton
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1363:William Walton
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1333:Paul Hindemith
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1259:
1249:Ebony Concerto
1231:
1221:
1211:
1199:
1146:AntonĂn Dvořák
1037:Franz Schubert
871:
868:
789:Ninth "Choral"
785:Third "Eroica"
777:, Beethoven's
736:Salvator Mundi
695:
694:Variation form
692:
675:Porgy and Bess
579:Main article:
576:
573:
488:Anton Diabelli
356:
355:Other examples
353:
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3589:Remix culture
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3487:Postmodernism
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3377:Epoch-marking
3374:
3368:
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3363:
3360:
3358:
3355:
3353:
3352:Jazz standard
3350:
3348:
3347:Genre fiction
3345:
3343:
3340:
3338:
3335:
3334:
3332:
3324:
3318:
3317:Western canon
3315:
3313:
3310:
3308:
3305:
3303:
3302:Genre studies
3300:
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3031:
3030:Internet meme
3028:
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3016:
3010:
3007:
3005:
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3000:
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2987:
2983:
2982:Shot-for-shot
2980:
2979:
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2957:Found footage
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2770:Sound collage
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2700:Interpolation
2698:
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2690:Cover version
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2641:Appropriation
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2581:
2578:
2576:
2573:
2571:
2568:
2566:
2563:
2561:
2558:
2556:
2555:Strophic form
2553:
2551:
2548:
2546:
2543:
2541:
2538:
2536:
2533:
2531:
2528:
2526:
2523:
2521:
2518:
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2513:
2511:
2508:
2506:
2503:
2501:
2498:
2496:
2493:
2491:
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2486:
2483:
2481:
2478:
2476:
2473:
2471:
2468:
2466:
2463:
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2458:
2456:
2453:
2451:
2448:
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2443:
2441:
2438:
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2428:
2426:
2423:
2421:
2418:
2416:
2413:
2411:
2408:
2406:
2403:
2401:
2398:
2396:
2393:
2391:
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2381:
2378:
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2373:
2371:
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2366:
2363:
2361:
2358:
2356:
2353:
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2347:
2344:
2340:
2336:
2329:
2324:
2322:
2317:
2315:
2310:
2309:
2306:
2300:
2297:
2295:
2292:
2291:
2280:
2275:
2272:
2270:2-284-00573-X
2266:
2262:
2257:
2256:
2246:
2244:0-13-033233-X
2240:
2236:
2231:
2226:
2222:
2221:Tyrrell, John
2218:
2213:
2208:
2203:
2198:
2193:
2188:
2183:
2179:
2177:0-393-09206-2
2173:
2169:
2164:
2160:
2155:
2150:
2145:
2141:
2135:
2131:
2130:
2124:
2119:
2115:
2110:
2105:
2101:
2097:
2093:
2088:
2084:
2082:0-451-52867-0
2078:
2074:
2070:
2066:
2061:
2056:
2052:
2050:0-8021-1009-6
2046:
2042:
2038:
2034:
2023:
2019:
2018:
2012:
2007:
2002:
1998:
1997:
1991:
1990:
1979:
1974:
1968:, p. 13.
1967:
1962:
1955:
1950:
1943:
1938:
1930:
1924:
1919:
1911:
1905:
1900:
1893:
1888:
1881:
1876:
1869:
1864:
1857:
1852:
1850:
1841:
1835:
1830:
1823:
1818:
1811:
1806:
1804:
1802:
1794:
1789:
1782:
1777:
1770:
1765:
1758:
1753:
1751:
1743:
1738:
1732:, p. 63.
1731:
1726:
1719:
1718:0-13-049346-5
1715:
1711:
1705:
1701:
1692:
1689:
1687:
1684:
1682:
1681:Strophic form
1679:
1677:
1674:
1672:
1669:
1667:
1664:
1662:
1659:
1658:
1654:
1643:
1636:
1634:
1628:
1626:
1622:
1617:
1613:
1609:
1608:improvisation
1604:
1603:
1598:
1594:
1589:
1587:
1586:
1580:
1576:
1572:
1567:
1565:
1561:
1557:
1547:
1545:
1540:
1538:
1537:
1532:
1529:in 2019, and
1528:
1527:
1522:
1521:
1516:
1512:
1510:
1506:
1502:
1498:
1497:Arthur Oldham
1494:
1490:
1486:
1478:
1475:
1472:
1471:John Williams
1469:
1466:
1463:
1460:
1456:
1453:
1450:
1446:
1443:
1440:
1436:
1433:
1430:
1426:
1423:
1420:
1419:
1414:
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1405:
1402:
1398:
1394:
1391:
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1384:
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1378:
1374:
1371:
1368:
1364:
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1358:
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1352:
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1343:
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1319:
1316:
1313:
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1296:
1293:
1290:
1287:
1286:
1281:
1278:
1275:
1274:
1269:
1268:
1263:
1260:
1257:
1256:
1251:
1250:
1245:
1241:
1240:
1235:
1232:
1229:
1225:
1222:
1219:
1215:
1214:Ernő Dohnányi
1212:
1209:
1208:
1203:
1200:
1197:
1193:
1189:
1188:
1183:
1180:
1179:
1178:
1175:
1173:
1172:
1167:
1166:Anton Arensky
1163:
1162:
1157:
1153:
1152:
1147:
1143:
1142:
1137:
1136:Karl Goldmark
1133:
1129:
1125:
1121:
1119:
1118:
1113:
1109:
1105:
1104:
1099:
1095:
1091:
1087:
1083:
1079:
1074:
1072:
1071:
1066:
1062:
1061:
1056:
1052:
1048:
1047:
1042:
1038:
1034:
1032:
1028:
1024:
1020:
1018:
1012:
1008:
1007:major, Op. 35
1000:
995:
991:
987:
985:
981:
977:
973:
969:
965:
961:
957:
953:
952:Classical era
948:
946:
945:
940:
936:
935:
930:
926:
922:
918:
914:
910:
909:Giles Farnaby
906:
902:
897:
895:
894:
889:
885:
881:
877:
867:
865:
861:
860:
854:
852:
850:
845:
843:
838:
834:
833:
828:
824:
823:
818:
814:
813:
808:
804:
803:
798:
794:
790:
786:
782:
781:
776:
774:
769:
765:
761:
760:
754:
753:
748:
747:
742:
738:
737:
732:
727:
725:
720:
718:
713:
709:
705:
701:
691:
689:
685:
681:
677:
676:
671:
667:
663:
658:
656:
655:Nicholas Cook
653:According to
647:
631:
629:
620:
604:
602:
598:
594:
593:
588:
582:
572:
570:
566:
562:
561:
556:
551:
549:
545:
537:
521:
519:
518:33 variations
515:
507:
491:
489:
480:
464:
462:
458:
454:
450:
446:
437:
421:
414:
398:
396:
389:
385:
380:
364:
362:
352:
351:
342:
326:
324:
320:
316:
312:
298:
282:
280:
276:
262:
246:
244:
230:
214:
202:
186:
184:
180:
176:
167:
165:
161:
157:
152:
150:
149:orchestration
146:
142:
138:
134:
130:
126:
122:
118:
114:
103:
101:
89:
85:
70:
53:
52:
47:
43:
36:
34:
19:
3502:Related non-
3474:
3467:
3460:
3449:
3435:
3424:Theorization
3409:
3399:
3386:
3265:
3180:Found object
3175:DĂ©tournement
3009:YouTube poop
3004:Video mashup
2952:Collage film
2915:
2907:
2898:
2826:Found poetry
2821:Flarf poetry
2789:
2730:Parody music
2710:Music mashup
2685:Contrafactum
2584:
2560:Ternary form
2445:Introduction
2335:Musical form
2278:
2260:
2234:
2224:
2206:
2196:
2186:
2167:
2159:The Guardian
2158:
2148:
2128:
2117:
2113:
2104:the original
2099:
2095:
2072:
2059:
2040:
2026:, retrieved
2022:the original
2016:
2014:Biba, Otto,
2005:
1995:
1973:
1961:
1949:
1937:
1925:, p. 4.
1918:
1906:, p. 5.
1899:
1887:
1875:
1863:
1836:, p. 8.
1829:
1824:, p. 5.
1817:
1793:Copland 2002
1788:
1781:Mellers 1964
1776:
1764:
1742:Mellers 1983
1737:
1725:
1709:
1704:
1653:Music portal
1629:
1600:
1590:
1582:
1578:
1568:
1564:da capo aria
1553:
1541:
1534:
1524:
1523:in 1997 and
1518:
1513:
1482:
1465:John McGuire
1438:
1428:
1425:Frans Geysen
1416:
1407:Ben Johnston
1400:
1386:
1354:
1353:, 1937, and
1348:
1336:
1329:: II, 1938),
1308:Anton Webern
1292:MiklĂłs RĂłzsa
1283:
1271:
1265:
1253:
1247:
1237:
1205:
1202:Charles Ives
1185:
1176:
1169:
1159:
1156:Edward Elgar
1149:
1139:
1122:
1115:
1103:Don Giovanni
1101:
1085:
1075:
1070:Der Wanderer
1068:
1058:
1054:
1044:
1035:
1016:
998:
993:
988:
979:
968:Joseph Haydn
949:
942:
932:
901:William Byrd
898:
891:
875:
873:
863:
857:
855:
848:
841:
830:
820:
810:
800:
778:
771:
758:
750:
744:
734:
728:
721:
697:
673:
659:
652:
625:
597:17th century
590:
587:John Dowland
584:
567:’s original
558:
555:Rachmaninoff
552:
542:
512:
485:
442:
419:
393:
358:
347:
315:counterpoint
308:
272:
240:
212:
173:
163:
159:
153:
141:counterpoint
116:
110:
97:
46:Prolongation
41:
32:
27:Musical form
3569:Open source
3357:Plot device
3307:Originality
3290:Fan fiction
3155:After (art)
3111:Translation
2967:Parody film
2851:Visual arts
2780:Tribute act
2643:in the arts
2540:Sonata form
2500:Post-chorus
2415:Development
2405:Cyclic form
2370:Binary form
2339:development
2028:21 December
1966:Gamble 1984
1954:Austin 1966
1880:Drebes 1992
1822:Raymar 1931
1810:Sisman 2001
1691:Tune-family
1455:Steve Reich
1399:(1958–67),
1258:, 1963–64),
1154:(1877) and
1082:Carl Czerny
925:harpsichord
876:diferencias
832:Don Quixote
704:passacaglia
700:ground bass
684:Miles Davis
461:heterophony
457:sonata form
453:"Waldstein"
319:suspensions
156:development
42:Ausarbeiten
3604:Categories
3462:Nachahmung
3448:Dionysian
3388:L.H.O.O.Q.
3312:Simulacrum
3121:Adaptation
3101:Plagiarism
3035:Joke theft
3018:Other arts
2811:Assemblage
2673:Contrafact
2580:Transition
2510:Repetition
2495:Pre-chorus
2425:Exposition
2395:Conclusion
1987:References
1978:Lewis 2011
1923:Irmer 1985
1856:White 1976
1730:White 1976
1588:, K. 455.
1449:Variations
1383:Luigi Nono
1312:Variations
1262:Alban Berg
1239:Pulcinella
1088:, Op. 73.
982:, and the
905:Hugh Aston
805:, Op. 56,
775:Variations
688:variations
670:Summertime
311:minor mode
305:Minor mode
245:off-beats:
243:syncopated
100:media help
3337:Archetype
3329:and forms
3285:Fan labor
3165:Bricolage
3106:Quotation
2994:TV format
2900:Mona Lisa
2795:Vaporwave
2790:Variation
2750:Quodlibet
2745:Potpourri
2735:Pasticcio
2725:Nightcore
2585:Variation
2450:Leitmotif
2350:Arch form
1868:Apel 1962
1769:Cook 1990
1757:Cook 1990
1671:Inversion
1571:Classical
1556:improvise
1393:John Cage
1100:'s opera
1060:The Trout
1055:The Trout
937:set, and
893:divisions
864:Variantes
856:Chopin's
731:John Bull
668:'s song "
662:Gil Evans
592:Lachrimae
514:Beethoven
449:Beethoven
323:imitation
279:harmonies
117:variation
88:Rosamunde
3557:Fair use
3450:imitatio
3443:Diegesis
3267:Afflatus
3239:Anti-art
3226:concepts
3170:Citation
3134:Literary
3096:Pastiche
3081:Allusion
3065:concepts
3063:General
2989:Supercut
2775:Standard
2765:Sampling
2649:By field
2480:Overture
2475:Ostinato
2470:Movement
2365:Bar form
2355:Argument
2223:(eds.),
2071:(2002),
2039:(1990),
1639:See also
1461:, 1979),
1389:, 1950),
1369:, 1963),
1359:, 1946),
1341:, 1943),
1325:♭
1210:, 1891),
1078:Romantic
1004:♭
994:Diabelli
980:Drumroll
859:Berceuse
837:Schubert
773:La Folia
759:Chaconne
724:movement
712:ostinato
708:chaconne
565:Paganini
548:silences
125:repeated
35:(ballet)
3482:Pop art
3456:Mimesis
3400:Quixote
3200:Reprise
3139:Theatre
3025:In-joke
2999:Vidding
2863:Collage
2535:Section
2515:Reprise
1633:harmony
1560:Baroque
1421:(1975),
1267:Wozzeck
1196:Corelli
1076:In the
950:In the
913:Baroque
880:vihuela
851:Quintet
844:Quartet
835:. Both
768:Corelli
762:, and (
757:Violin
395:Debussy
350:Listen.
137:harmony
3415:(2010)
3405:(1939)
3392:(1919)
3205:Satire
3195:Mashup
3185:Homage
3091:Parody
3086:Calque
2977:Remake
2760:Riddim
2705:Medley
2695:DJ mix
2490:Phrase
2485:Period
2460:Melody
2430:Finale
2375:Bridge
2267:
2241:
2174:
2136:
2079:
2047:
1716:
1507:, and
1192:Chopin
1098:Mozart
1041:lieder
1017:Eroica
999:Eroica
978:, the
927:, are
825:, and
817:Franck
793:Brahms
680:timbre
384:Chopin
275:chords
175:Mozart
145:timbre
133:rhythm
129:melody
121:formal
44:, see
3379:works
3297:Genre
3278:Muses
2916:PietĂ
2908:David
2883:Swipe
2836:Trope
2785:Trope
2755:Remix
2656:Music
2565:Theme
2530:Rondò
2525:Rondo
2465:Motif
2400:Cycle
1697:Notes
1625:bebop
1585:Gluck
1244:Octet
1096:from
849:Trout
807:Elgar
717:theme
569:theme
119:is a
113:music
3564:Meme
3431:Dada
3129:Film
2678:list
2520:Riff
2455:Lick
2440:Hook
2420:Drop
2390:Coda
2385:Cell
2337:and
2265:ISBN
2239:ISBN
2172:ISBN
2134:ISBN
2077:ISBN
2045:ISBN
2030:2008
1929:help
1910:help
1892:Biba
1840:help
1714:ISBN
1621:this
1593:jazz
1273:Lulu
1194:and
919:and
907:and
890:was
878:for
846:and
787:and
741:Bach
550:."
321:and
164:many
1627:."
1168:'s
1158:'s
1148:'s
1138:'s
1114:'s
941:'s
931:'s
882:by
839:'s
829:'s
819:'s
809:'s
795:'s
770:'s
766:),
743:'s
733:'s
589:'s
557:’s
451:'s
386:'s
177:'s
160:one
111:In
3606::
3403:"
2219:;
2116:,
2100:14
2098:,
2094:,
1848:^
1800:^
1749:^
1546:.
1511:.
1503:,
1499:,
1495:,
1491:,
1447:,
1437:,
1427:,
1415:,
1395:,
1198:),
1120:.
1033:.
966:.
954:,
947:.
903:,
815:,
799:,
755:,
749:,
739:,
706:,
702:,
571:.
463:.)
390:.
317:,
147:,
143:,
139:,
135:,
131:,
115:,
3396:"
3257:"
3253:"
2633:e
2626:t
2619:v
2327:e
2320:t
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2283:.
2248:.
2229:.
2211:.
2201:.
2191:.
2181:.
2162:.
2153:.
2143:.
2122:.
2118:1
2108:.
2086:.
2064:.
2054:.
2010:.
2000:.
1980:.
1931:)
1912:)
1894:.
1842:)
1812:.
1720:.
1457:(
1385:(
1335:(
1320:(
1310:(
1300:(
1282:(
1276:)
1236:(
1226:(
1216:(
1204:(
1184:(
1053:(
1019:)
325::
102:.
90:.
48:.
37:.
20:)
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