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 (pă-stē′chō, -chē-ō, pä-)
n. pl. pas·tic·ci (-chē)
A work or style produced by borrowing fragments, ingredients, or motifs from various sources; a potpourri.

[Italian, from Vulgar Latin *pastīcium, pasty; see patisserie.]

Pastiche, Pasticcio

 a medley, potpourri or hotchpotch; an opera made up of various pieces; a picture based on another’s design or style.
Examples: pasticcio of gauzes, pins and ribbons, 1785; our operas begin tomorrow with a pasticcio full of my favourite songs—Walpole, 1752.
References in classic literature ?
But as you are only a novelist, I compliment you heartily on your clever little pasticcio, adding, however, that as an account of what actually passed between myself and Hetty, it is the wildest romance ever penned.
Here is the Mazarin architecture, the wretched Italian pasticcio of the Four Nations.
One of the finest of such pasticcios was the Venus that Thomas Jenkins sold to Sir William Weddell of Newby Hall in 1765, a triumph of the restorer Cavaceppi's art.
The next foreign venue where Denzio's company had appeared was Regensburg in Bavaria, where in 1733 the Prague opera performed two titles: Filindo and 11 Condannato Innocente (in both cases pasticcios compiled by the company's impresario).
Beard commissioned two light pasticcios, Love in a Village, assembled by Arne from seventeen different composers, which was first given on 8 December 1762 and The Maid of the Mill by Samuel Arnold and others, first performed on 31 January 1765.
They play a dominating role in his numerous sacred music arrangements and pasticcios, but he also made use of music by his father, Telemann, Stolzel, and composers of the older generation.
Olleson picks up at the opening of the King's Theatre's 1779-80 opera season, when Susan recounts in considerable detail works by Antonio Sacchini, Ferdinando Bertoni, and Niccolo Piccinni as well as several pasticcios.
As Ulrich Leisinger notes in his preface to series V (choral music), in supplying music for the city's five churches Bach used a variety of procedures, including minimally adapting the work of other composers or creating pasticcios by bringing together works by various composers, as well as writing completely new works (V/5.
It was a period of great activity and productivity for the composer, who in addition to writing full opere serie, also contributed to several pasticcios, all produced within a span of less than four years.
Much as with attributions in operatic pasticcios, though, one would
The dramatic works are numbered chronologically, including contrafacta and pasticcios (with complete incipits) even when made by others, but omitting lost works.