Intertextuality in Music Dialogic Composition 1st Edition by Violetta Kostka 9781000397321 1000397327

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ISBN 10: 1000397327
ISBN 13: 9781000397321 
Author: Violetta Kostka

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.

Intertextuality in Music Dialogic Composition 1st Table of contents:

Part I: Musical Intertextuality – Defining the Field

1. What is (is there) musical intertextuality?
2. Mashed-up classics
   • Period remix
   • Vienna through the looking glass
   • Listening against the grain
   • Conclusion: Beyond mentalities
3. Intertextuality and a new subjectivity
   • What is intertextuality?
   • What is the bourgeois social text?
   • What new subjectivity does Kristeva imagine?
   • What does intertextuality mean for modern music?
   • How does Ravel’s Violin Sonata No. 2 challenge the bourgeois social text?
4. Making old music new: Performance, arranging, borrowing, schemas, topics, intertextuality

Part II: The Intertextual Poetics of Music
5. Intertextual poetics: From Ryszard Nycz’s theory to Paweł Szymański’s music
6. Barbara Skarga’s ‘trace and presence’ as an intertextual category in music: The case of Dariusz Przybylski’s Schübler Choräle for organ, op. 48
7. Intertextuality and (modernist) medievalism in British post-war music

Part III: In Light of Genette’s Transtextuality
8. Transtextuality according to Gérard Genette – and beyond
9. The Geisha (1896) as a locus of transtextuality in popular musical theatre
10. Musical comedy, pastiche, and the challenge of ‘rewriting’

Part IV: Constructing Meaning Through Intertextual Music
11. The musical text as a polyphonic trace of otherness
12. ‘Strange and dead the ghosts appear’: Mythic absence in Hölderlin, Adorno, and Kurtág
13. Constructing ‘Cathy’: Intertextuality and intersubjectivity in Luciano Berio’s Recital I (for Cathy)
14. Findings, keepings, and borrowings: Uncanny intertextuality in Thomas Adès’s Powder Her Face

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Violetta Kostka,Intertextuality,Music Dialogic