> They didn't always credit the source and there were not always specific
> purposes. In my opinion, a good example of plagiarism is the clarinet
> theme from Horner's "An American Tail", which, despite some
> differences, is obviously taken from the first measures of Borodin's
> "Steppes of Central Asia". Other examples would be the
> Braveheart/Jupiter case and Willow/Schumann's Third. By the same
> rationale, however, I have to admit that, for example, the melody of
> Holst's "In The Bleak Midwinter" is virtually the same melody as
> that of the second movement "Largo" of Dvorak's Ninth. As far as
> I know, Holst never gave reasons for this even though the similarity is
> unmistakable. Another example (off the top of my mind)is that the theme
> from Tchaikovsky's Sleeping Beauty is very similar to the
> "Morning" section/Morning Mood from Grieg's Peer Gynt. Again,
> there is no specific reason for this other than that it is a catchy hook
> and sounds good. But you will never hear people calling Holst or
> Tchaikovsky plagiarists even though the level of similarity in both
> aforementioned cases is the same as with Horner, i.e. not exactly
> identical, but ripping-off the hook of the tune and stealing the
> structure. My point is this: if they (and others) can get away with this
> then why can't Horner be excused his borrowings, seeing as he doesn't
> steal as much nor as often as people like to make seem.

Actually, classical composers are also constantly accused of plagiarism. Handel is the most famous example. 45% of his tunes are based on pre-existing music. They also commit that crime. But that doesn´t make Horner´s crime less despicable. And yes, he is constantly stealing.

There´s nothing in Sleeping Beauty remotely similar to the Morning Mood from Peer Gynt. If you want to make an accusation do it right and give the proper examples.