Written for orchestra and tape, Schafer's piece praises and belittles Strauss simultaneously, a conflict which is audible. Strauss's first theme serves as a cantus firmus in extreme augmentation for most of the piece, and other borrowed themes are presented in a rush at the end of the work. Son of Heldenleben (1968) is based on Strauss's Ein Heldenleben, and it demonstrates Schafer's ambivalence toward the Romantic era. In this treatment of the life and work of Schafer, several examples of borrowing are discussed. Sources: Richard Wagner: Der fliegende Holländer (597-609). Works: Miklós Rózsa: Score to The Thief of Baghdad (597-609). Such ludic details of performance are often overlooked but are an inseparable part of such epiphanic moments.
#SLINGSTAR DONALDSON MOVIE#
An individual's particular viewing experience can also contribute to the experience, such as when a movie theater and an opera hall share similar acoustics. Also, in both film and opera it seems as if music animates objects. For instance, beyond the musical resemblances, the film and the opera share a number of images, such as a ship and blood-red sails. When one recognizes such borrowing, it is dependent on a "polysemic mélange" that works together to make such recognition possible. For instance, in the 1939 film The Thief of Baghdad there is a brief allusion to a passage from the overture to Wagner's Der fliegende Holländer.
The epiphanic moment in which a listener realizes that musical borrowing has taken place concerns not only the relation between two texts but also performance. Sources: George Gershwin and Ira Gershwin: “Summertime” from Porgy and Bess (1944), I Got Rhythm (1948-49) Ray Noble: Cherokee (1946) Vincent Youmans and Irving Caesar: Tea for Two (1948) Joseph Kosma and Jacques Prévert: Autumn Leaves (1948) Roy Orbison: Oh, Pretty Woman (1951) Cole Porter: Love for Sale (1951-52) Duke Ellington and Paul Francis Webster: I Got It Bad and That Ain’t Good (1959). Works: John Coltrane (performer): Summertime (1944) Art Tatum (arranger and performer): Cherokee (1946) Live Crew: Oh, Pretty Woman (1951) Miles Davis (arranger and performer): Love for Sale (1951-53) Keith Jarrett (performer): I Got It Bad and That Ain’t Good (1959). Moving forward, similar considerations may be applied to digital music compilation, since the ability to transform sources and create collages generates new modes of meaning in a similar way to jazz. Given the musical originality of many such interpolations, copyright law should consider these to be transformative, and thus not only protected under fair use analysis but also privileged as original compositions, protected under the law. Therefore, a narrower definition of what is legally “derivative” must be introduced into copyright law, in order to protect and valuate the highly original contributions of jazz musicians who generate new works and interpolations from existing music. Revisitation is essential to jazz, ranging from oblique reference to the arrangement and performance of standard songs. Within the framework of current copyright law, the kind of borrowing, referencing, and reworking of existing music that characterizes the evolution of jazz is considered unoriginal and thus not up to the standards required to adhere to the law. It privileges the composer of a borrowed work as the sole owner, regardless of the meaningful and original transformations a new musician may bring to or derive from an existing chord progression or tune. Current copyright law discourages the vital reinterpretation of existing music that defines jazz aesthetics.
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