Abstract
PERHAPS no aspect of Charles Ives's musical method has been so written about and worried over as his incorporation of existing music into his own compositions. John Kirkpatrick and Clayton Henderson have exhaustively catalogued the appearances of borrowed material in all of the surviving works, although more no doubt remains to be discovered.1 Studies have stressed the musical relationships of the borrowed material to its surroundings,2 have emphasized the psychological or extramusical meanings created by quotation of tunes with texts or with private emotional associations,3 or have attempted to show the unity created in a process of quotation which is based on both musical and extramusical associations.4 So much
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