Intertextuality in Music
Dialogic Composition
1st Edition
Published on 17. June 2021
248 pages
978-1-000-39732-1 (ISBN)
Description
The concept of intertextuality - namely, the meaning generated by interrelations between different texts - was coined in the 1960s among literary theorists and has been widely applied since then to many other disciplines, including music. Intertextuality in Music: Dialogic Composition provides a systematic investigation of musical intertextuality not only as a general principle of musical creativity but also as a diverse set of devices and techniques that have been consciously developed and applied by many composers in the pursuit of various artistic and aesthetic goals. Intertextual techniques, as this collection reveals, have borne a wide range of results, such as parody, paraphrase, collage and dialogues with and between the past and present. In the age of sampling and remix culture, the very notion of intertextuality seems to have gained increased momentum and visibility, even though the principle of creating new music on the basis of pre-existing music has a long history both inside and outside the Western tradition. The book provides a general survey of musical intertextuality, with a special focus on music from the second half of the twentieth century, but also including examples ranging from the nineteenth century to the second decade of the twenty-first century. The volume is intended to inspire and stimulate new work in intertextual studies in music.
More details
Edition
1. Auflage
Language
English
Place of publication
London
United Kingdom
Publishing group
Taylor & Francis Ltd
Target group
College/higher education
Product notice
Reflowable
Illustrations
3 Tables, black and white; 12 Halftones, black and white; 12 Illustrations, black and white
ISBN-13
978-1-000-39732-1 (9781000397321)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Violetta Kostka | Paulo F. de Castro | William A. Everett
Intertextuality in Music
Dialogic Composition
Book
01/2023
1st Edition
Routledge
€63.30
Shipment within 15-20 days
Violetta Kostka | Paulo F. de Castro | William A. Everett
Intertextuality in Music
Dialogic Composition
Book
06/2021
1st Edition
Routledge
€206.40
Shipment within 15-20 days
Persons
Violetta Kostka trained as a musicologist at the University of Poznan and received her PhD and habilitation from the Institute of Art of the Polish Academy of Sciences in Warsaw.
Paulo F. de Castro, PhD, University of London (Royal Holloway), is Associate Professor and Head of the Musicology Department at Universidade Nova, Lisbon.
William A. Everett, PhD, is Curators' Distinguished Professor of Musicology at the University of Missouri-Kansas City Conservatory.
Paulo F. de Castro, PhD, University of London (Royal Holloway), is Associate Professor and Head of the Musicology Department at Universidade Nova, Lisbon.
William A. Everett, PhD, is Curators' Distinguished Professor of Musicology at the University of Missouri-Kansas City Conservatory.
Content
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'
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'
