ABSTRACT
The terminological difficulties repeatedly encountered in musicological writings on borrowing are unlikely to be resolved in this volume.1 This is perhaps how the situation should remain, for the crux of the issue lies in the fact that identified examples of borrowing often vary dramatically in their relationship to the source material(s) from which they have been derived. As a result, networks of affiliations are difficult to establish. The hypothesis advanced in this paper will suggest yet another relationship, although, in a slight twist to the issue, the source materials will be identified only tentatively. Furthermore, it will remain an issue of conjecture as to whether the borrowings were the result of conscious thought or habitual and reiterative musical practices. The latter possibility, seeming more applicable to a study of musical style, is discussed here primarily in response to research in which certain compositional practices have been assumed to be demonstrative of the text-based borrowing procedure known as the “contrapuntal allusion.”2
