JPR is created entirely from a collage of borrowed materials; all the pitches are Rameau’s and occur in exactly the same metrical positions and within the same formal designs as in the source pieces. Whilst the kind of dialogic double voicing often attributed to the use of borrowed materials occurs in JPR (Ap Siôn, 2014) the author’s intervention starts and remains within Rameau’s material (via an informal filtering process) so the kind of authorial juxtapositions often found in musical borrowing are absent. In a similar way to Kagel’s ‘compass rose’ pieces (Heile, 2004) authorship here resides mainly in the combination of pre-existing elements; in JPR movements from different suites are superimposed according to loosely coordinated time structures, but the pre-existing elements are latent in Rameau’s originals without the synthetic quality of Kagel's.

The paper will attempt to locate JPR in the lineage of musical borrowing practices and expose its unique features. The performance will uncover connections between the source material and Armstrong’s work allowing the audience members to make informed contributions to the discussion. The performers’ contributions will provide the missing link in the production-reception chain and help to open up the discussion, for example their memories (mental and embodied) of the originals inform their experience of JPR significantly.