Patrick Kavanaugh wrote a lovely book entitled
Spiritual Lives of the Great Composers.
Many have found this inspiring, and have incorporated parts of his research into blog entry. For example, here is James-Griffiths' approach:
Spiritual Lives of the Great Composers
by Paul James-Griffiths | Aug 20, 2016 | Arts
In 2005 I began to research the spiritual lives of the great composers for the narratives of our concerts in Edinburgh, but I did not know where to start. I prayed for guidance and typed these words on my computer: Spiritual lives of the great composers. Lo and behold, a book appeared with that very title! After sending off for that book and reading it, this has now become the basis of the material about the composers’ spiritual lives in our concerts.
My thanks go to the author, Patrick Kavanaugh, who has done the work already! The following excerpts from the famous composers are mostly taken from his work, The Spiritual Lives of the Great Composers, Sparrow Press, USA, © 1992.
https://www.christianheritageedinburgh. ... composers/
[bolding added.]
After properly attributing the source of his quotes, he then posts a selection.
There are other, less savory approaches, however. For example, if one were to directly take quotes out of Kavanaugh's work and copy Kavanaugh's footnoting of the sources, one could imply they had done the research without crediting the work of the researcher they quoted from.
As an example, take a look at the footnotes of this blog entry by Peterson about the spiritual lives of composers:
[1] Werner Wolff, Anton Bruckner, Rustic Genius (New York: E.P. Dutton & Co., Inc., 1942), 145. Redlich, Bruckner, Mahler, 37.
[2] Ibid, 104.
[3] Hans Ferdinand Redlich, Bruckner and Mahler (London: J.M. Dent Ltd., revised 1963), 37.
[4] Wolff, Anton Bruckner and Mahler, 150.
[5] Natalie Bauer-Lechner, Recollections of Gustav Mahler, trans. Dika Newlin (New York: Cambridge University Press, 1980), 47.
[6] Arthur M. Abell, Talks With Great Composers (New York: Citadel, 1994), 3.
[7] Ibid., 5.
[8] Ibid., 5-6.
[9] Ibid., 11.
[10] Ibid., 21.
[11] Karl Hoffmeister, Antonin Dvorak, Letters and Reminiscences (Westport, Conn.: Greenwood, 1970), 104-5. Kavanaugh, Spiritual Lives of the Great Composers, 154.
[12] Kavanaugh, Spiritual Lives of the Great Composers, 153. German in the Library
It looks like this entry was written by this person, but what they actually did was lift Kavanaugh's work and sources directly from kavanaugh.
Ftnote 1: Quote from Kavanaugh p 134.
Ftnote 2: From Kavanaugh pp 133-134.
Ftnote 3: Quote from Kavanaugh p 134.
Ftnote 4: Quote from Kavanaugh p 134, directly after the quote from f 3.
Ftnote 5: Quote from Kavanaugh p 136
Ftnote 6: Quote from Kavanaugh p 146, Kavanaugh's ftnote 17
Ftnote 7: Quote from Kavanaugh p 146, Kavanaugh's ftnote 18
Ftnote 8: Quote from Kavanaugh p 146, Kavanaugh's ftnote 19
Ftnote 9: Quote from Kavanaugh p 146, Kavanaugh's ftnote 20
Ftnote 10: Quote from Kavanaugh p 146, Kavanaugh's ftnote 21
Ftnote 11: Quote from Kavanaugh p 154, Kavanaugh's ftnote 14
And for the final footnote, DCP dispenses with the pretense of copying Kavanaugh's research and simply plagiarizes Kavanaugh outright.
Here is k, from p 153. The blue, as usual, indicates direct word for word copying by Peterson, within the entire section he plagiarized.
When writing about his colossal
Mass in D Major, he characteristically proclaimed,
"Faith, hope and love to God Almighty and thanks for the great gift of being enabled to bring this work in the praise of the Highest and in the honour of art to a happy conclusion." Then he added,
"Do not wonder that I am so religious. An artist who is not-could not produce anything like this. Have we not examples enough in Beethoven, Bach, Raphael and many others?"s Dvořák's relationship to God appears to have been consis- tently reverent and personal. His principal biographer, Otakar Sourek, notes that an unchanging feature of Dvořák's nature was his "sincere piety." The composer loved reading the Bible and owned copies in English as well as in modern and ancient Czech. Dvořák's letters are full of spiritual observations, and
his manu- scripts regularly began
with the marking
"With God" and ended
with the benediction, "God be thanked." When he traveled, he wrote letters to his children encouraging them to go to church often and "pray fervently."10
https://www.google.com/books/edition/Sp ... frontcover
And here is Peterson, unable to put it in his own words:
His manuscripts regularly opened with the phrase “With God” and concluded with the benediction “God be thanked.” Commenting on his Mass in D Major, he exclaimed “Faith, hope and love to God Almighty and thanks for the great gift of being enabled to bring this work in the praise of the Highest and in the honour of art to a happy conclusion.” “Do not wonder,”he continued, “that I am so religious. An artist who is not—could not produce anything like this. Have we not examples enough in Beethoven, Bach, Raphael and many others?”[12]
In footnote 12, Peterson credits Kavanaugh, but doesn't quote him directly. He tosses up the adjectives and adverbs, rearranges phrases, and implies the footnote is for the quotes. In so doing he plagiarizes Kavanaugh's paragraph.
Peterson also directly lifts Kavanaugh's wording in his sentences preceding his footnotes 3 and 4.
This is only one of several entries Peterson made about composers. What are the odds every single one is directly lifted from Kavanaugh's research, just as this one is?
Edited to add:
Peterson's plagiarism, documented in this post, is at
https://www.patheos.com/blogs/danpeters ... ldren.html