Scholars and performers have long noted J.S. Bach's abundant use of parody procedures: that is, the recycling and reworking of pre-existing material from his own compositions or from other sources. Laura Buch edits essays exploring how the composer parodied the work of others and how other composers did the same with him. The contributors delve into the works of Baroque-era composers from Bach himself to C. P. E. Bach, Johann Caspar Ferdinand Fischer, and Ferruccio Busoni. But they also cast a wider net, investigating the ways Bach's music cross-pollinates with contemporary composer-performers John Lewis and the Modern Jazz Quartet, and keyboardist Bernie Worrell and Parliament-Funkadelic. The diverse contexts illuminate a broad range of parody techniques, from structural scaffolding and contrapuntal elaboration to integration with stylistic languages far removed from the Baroque.
 
An insightful look at how composers build on each other's work, Bach Reworked reveals how nuanced understandings of parody procedures can fuel both musical innovation and historically informed performance.
 
Contributors: Stephen A. Crist, Ellen Exner, Moira Leanne Hill, Erinn E. Knyt, and Markus Zepf

Laura Buch is an editor of C. P. E. Bach: The Complete Works, a project of The Packard Humanities Institute, in Cambridge, Massachusetts.

Preface
Abbreviations
Reworking Fischer: Some Observations about Johann Sebastian Bach and Johann Caspar Ferdinand Fischer by Markus Zepf
Repaying Debt with Interest: The Revision of Borrowed Movements in C. P. E. Bach’s Passions by Moira Leanne Hill
The Bach-Busoni Goldberg Variations by Erinn E. Knyt Bach as Modern Jazz by Stephen A. Crist
Certifying J. S. Bach’s Interplanetary Funksmanship or: What Bach Meant to Bernie Worrell by Ellen Exner
Contributors
General Index