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The Uses of Existing Music: Musical Borrowing as a Field
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Cited by

  • 2021Creativity Is Optimal Novelty and Maximal Positive Affect: A New Definition Based on the Spreading Activation Model52 cited
  • 2015Intertextuality, sampling, and copyright44 cited
  • 2016Un cri de passion ne s'analyse pas: Olivier Messiaen's Harmonic Borrowings from Jules Massenet42 cited
  • 2003Computer Analysis of Musical Allusions37 cited
  • 2014Attention, une musique peut en cacher une autre21 cited
  • 2014Property as Institutions for Resources: Lessons from and for IP20 cited
  • 2016“Common Joys, Sorrows, Adventures, and Struggles”: Transnational Encounters in Amy Beach's “Gaelic” Symphony10 cited
  • 2004Rewriting the past: classicisms of the inter-war period10 cited
  • 2010Conceiving Musical Transdialection9 cited
  • 2016Messiaen the Borrower: Recomposing Debussy through the Deforming Prism8 cited
  • 2017Sources, Sounds and Meanings of Turali (Noseflute) Music in Dusunic Cultures of Sabah8 cited
  • 2011Polystylism and narrative potential in the music of Alfred Schnittke8 cited
  • 2011Importing the Sonic Souvenir: issues of cross-cultural composition7 cited
  • 2014Digital sampling and music industry practices, re-spun6 cited

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  • 2010You're There and You're Not There: Musical Borrowing and Cavell's “Way”6 cited
  • 2011Creating Space5 cited