Throughout the twentieth century, musicians frequently incorporated bits of works by other musicians into their own compositions and performances. When a musician borrows from a piece, he or she draws upon not only a melody but also the cultural associations of the original piece. By working with and altering a melody, a musician also transforms those associations. This book explores that vibrant practice, examining how musicians used quotation to participate in the cultural dialogues sustained around such areas as race, childhood, madness, and the mass media.