Centonization, according to Ferretti's theory, is a very old and widespread technique. The
musical modes used in
Gregorian 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, the
maqam of Arab music, the
raga of Indian music, or the
pathet of Indonesian music. These do not designate merely
scales, but sets of appropriate melodies and specific
ornaments on certain tones (they are sometimes called "melody types"). The originality of the composer lies in how he or she links these formulas together and elaborates upon them in a new way. 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. The term "centonate" is not applied to other categories of composition constructed from pre-existing units, such as
fricassée,
pasticcio,
potpourri, and
quodlibet. ==See also==