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Towards a Phenomenology of Musical Borrowing

Published online by Cambridge University Press:  24 September 2019

Sean Russell Hallowell
Sean Russell Hallowell*
Affiliation:
Stanford University, 590 Escondido Mall, Stanford CA 94305
*
Email: hallowell@stanford.edu
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Abstract

In discourse on the topic, the question of what constitutes a musical ‘borrowing’, if raised at all, is usually restricted in scope and framed as one of terminology – that is, of determining the right term to characterise a particular borrowing act. In this way has arisen a welter of terms that, however expressive of nuance, have precluded evaluation of the phenomenon as such. This is in part a consequence of general disregard for the fact that to conceive of musical borrowing entails correlative concepts, all of which precondition it, yet none self-evidently. Further preclusive of clarity, the musico-analytic lens of borrowing is typically invoked only in counterpoint to a quintessentially Western aesthetic category of composition ex nihilo. As a consequence, the fundamental role played by borrowing in musical domains situated at the periphery of the Western art music tradition, specifically pre-modern polyphony and twentieth-century musique concrète, has been overlooked. This article seeks to bridge such lacunae in our understanding of musical borrowing via phenomenological investigation into its conceptual and historical foundations. A more comprehensive evaluation of musical borrowing, one capable of accounting for its diverse instantiations while simultaneously disclosing what makes all of them ‘borrowings’ in the first place, is thereby attainable.

Type
Articles
Information
Organised Sound , Volume 24 , Issue 2: Borrowing, Quotation, Sampling and Plundering , August 2019 , pp. 174 - 183
Copyright
© Cambridge University Press, 2019 

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