Inmusiccentonization (from Latincento or patchwork[1]) ismusical composition via the combination of pre-existingmotivic units, typically in reference to Christian liturgicalchant.[2][3] A piece created using centonization is known as a "centonate".[1]
Centonization, according to Ferretti's theory, is a very old and widespread technique. Themusical modes used inGregorian chant are supposed to reflect this use; according to the theory, the modes were more collections of appropriate melodic formulas than a set of pitches. Similar ideas appear in the music theory of other cultures; for example, themaqam of Arab music, theraga of Indian music, or thepathet of Indonesian music. These do not designate merelyscales, but sets of appropriate melodies and specificornaments on certain tones (they are sometimes called "melody types").[6] The originality of the composer lies in how he or she links these formulas together and elaborates upon them in a new way.[7]
Regardless of whether the application of the concept to other branches of Christian chant, or other types of music is valid, its use with respect to Gregorian chant has been severely criticized, and opposing models have been proposed.[8][9] The term "centonate" is not applied to other categories of composition constructed from pre-existing units, such asfricassée,pasticcio,potpourri, andquodlibet.[2]
^Hiley, David. (1993).Western Plainchant: A Handbook. Oxford: Clarendon Press; New York: Oxford University Press. pp. 74–75.ISBN0-19-816289-8OCLC25707447.
Ferretti, Paolo Maria (1934).Estetica gregoriana ossia Trattato delle forme musicali del canto gregoriano. Rome: Pontificio Istituto di Musica Sacra. Reprint, New York: Da Capo Press, 1977.ISBN0-306-77414-3OCLC2910922.
