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Review: The Art of Grafted Song: Citation and Allusion in the Age of Machaut by Yolanda Plumley

2015; University of California Press; Volume: 68; Issue: 2 Linguagem: Inglês

10.1525/jams.2015.68.2.429

1547-3848

Anna Zayaruznaya,

Musicology and Musical Analysis

Book Review| August 01 2015 Review: The Art of Grafted Song: Citation and Allusion in the Age of Machaut by Yolanda Plumley The Art of Grafted Song: Citation and Allusion in the Age of Machaut, by Yolanda Plumley. Oxford and New York: Oxford University Press, 2013. xxiv, 460 pp. Anna Zayaruznaya Anna Zayaruznaya ANNA ZAYARUZNAYA is Assistant Professor in the Department of Music at Yale University. Her first book, The Monstrous New Art: Divided Forms in the Late Medieval Motet, was published in 2015 by Cambridge University Press. Her articles have appeared in this Journal, the Journal of Musicology, Early Music, and Early Music History. She serves on the council of the American Musicological Society. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2015) 68 (2): 429–435. https://doi.org/10.1525/jams.2015.68.2.429 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Anna Zayaruznaya; Review: The Art of Grafted Song: Citation and Allusion in the Age of Machaut by Yolanda Plumley. Journal of the American Musicological Society 1 August 2015; 68 (2): 429–435. doi: https://doi.org/10.1525/jams.2015.68.2.429 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search Citation and allusion in songs are currently on the minds of the American public to a greater extent than usual. A legal battle was won in March 2015 by the family of Marvin Gaye against the authors of the 2013 hit “Blurred Lines,” Robin Thicke and Pharrell Williams, who were found to be in infringement of copyright with regard to Gaye's 1977 “Got to Give It Up.” What made the ruling particularly noteworthy is that the two songs do not share any actual words or notes; their bass lines are distinct, and their chord progressions differ. They do both use cowbells, and what similarities there are are of sound, of groove—the kind of subjectively experienced phenomena that make for excellent debates over the dinner table. Those who hear a resemblance swear they heard it the first time they encountered “Blurred Lines”; those who do not rail indignantly about the relative... You do not currently have access to this content.