Introduction: Violetta Kostka, Paulo F. de Castro and William A. Everett
Part I. Musical Intertextuality: Defining the Field
Lawrence Kramer, What Is (Is There?) Musical Intertextuality
Nicholas Cook, Mashed-up Classics
Michael L. Klein, Intertextuality and a New Subjectivity
J. Peter Burkholder, Making Old Music New: Performance, Arranging, Borrowing, Schemas, Topics, Intertextuality
Part II. The Intertextual Poetics of Music
Violetta Kostka, Intertextual Poetics: From Ryszard Nycz's Theory to Pawel Szymanski's Music
Katarzyna Szymanska-Stulka, Barbara Skarga's 'Trace and Presence' as an Intertextual Category in Music: The Case of Dariusz Przybylski's 'Schuebler Choraele' for Organ, Op. 48
Alexander Kolassa, Intertextuality and (Modernist) Medievalism in British Post-War Music
Part III. In Light of Genette's Transtextuality
Paulo F. de Castro, Transtextuality according to Gerard Genette ? and beyond
William A. Everett, 'The Geisha' (1896) as a Locus of Transtextuality in Popular Musical Theatre
Nils Grosch, Musical Comedy, Pastiche and the Challenge of 'Rewriting'
Part IV. Constructing Meaning through Intertextual Music
Tijana Popovic Mladjenovic and Leon Stefanija, The Musical Text as a Polyphonic Trace of Otherness
Mark Hutchinson, 'Strange and dead the ghosts appear': Mythic Absence in Hoelderlin, Adorno and Kurtag
Francesca Placanica, Constructing 'Cathy': Intertextuality and Intersubjectivity in Luciano Berio's 'Recital I (for Cathy)'
Edward Venn, Findings, Keepings and Borrowings: Uncanny Intertextuality in Thomas Ades's 'Powder Her Face'
