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Intertextuality in Music 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.
Intertextuality in Music 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.
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Autorenporträt
Violetta Kostka trained as a musicologist at the University of Poznä 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.
Inhaltsangabe
Introduction: Violetta Kostka, Paulo F. de Castro and William A. Everett Part I. Musical Intertextuality: Defining the Field 1. Lawrence Kramer, What Is (Is There?) Musical Intertextuality 2. Nicholas Cook, Mashed-up Classics 3. Michael L. Klein, Intertextuality and a New Subjectivity 4. J. Peter Burkholder, Making Old Music New: Performance, Arranging, Borrowing, Schemas, Topics, Intertextuality Part II. The Intertextual Poetics of Music 5. Violetta Kostka, Intertextual Poetics: From Ryszard Nycz's Theory to Pawe Szymäski's Music 6. Katarzyna Szymäska-Stu ka, 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. Alexander Kolassa, Intertextuality and (Modernist) Medievalism in British Post-War Music Part III. In Light of Genette's Transtextuality 8. Paulo F. de Castro, Transtextuality according to Gérard Genette and beyond 9. William A. Everett, 'The Geisha' (1896) as a Locus of Transtextuality in Popular Musical Theatre 10. Nils Grosch, Musical Comedy, Pastiche and the Challenge of 'Rewriting' Part IV. Constructing Meaning through Intertextual Music 11. Tijana Popovi Mladjenovi and Leon Stefanija, The Musical Text as a Polyphonic Trace of Otherness 12. Mark Hutchinson, 'Strange and dead the ghosts appear': Mythic Absence in Hölderlin, Adorno and Kurtág 13. Francesca Placanica, Constructing 'Cathy': Intertextuality and Intersubjectivity in Luciano Berio's 'Recital I (for Cathy)' 14. Edward Venn, Findings, Keepings and Borrowings: Uncanny Intertextuality in Thomas Adès's 'Powder Her Face'
Introduction: Violetta Kostka, Paulo F. de Castro and William A. Everett Part I. Musical Intertextuality: Defining the Field 1. Lawrence Kramer, What Is (Is There?) Musical Intertextuality 2. Nicholas Cook, Mashed-up Classics 3. Michael L. Klein, Intertextuality and a New Subjectivity 4. J. Peter Burkholder, Making Old Music New: Performance, Arranging, Borrowing, Schemas, Topics, Intertextuality Part II. The Intertextual Poetics of Music 5. Violetta Kostka, Intertextual Poetics: From Ryszard Nycz's Theory to Pawe Szymäski's Music 6. Katarzyna Szymäska-Stu ka, 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. Alexander Kolassa, Intertextuality and (Modernist) Medievalism in British Post-War Music Part III. In Light of Genette's Transtextuality 8. Paulo F. de Castro, Transtextuality according to Gérard Genette and beyond 9. William A. Everett, 'The Geisha' (1896) as a Locus of Transtextuality in Popular Musical Theatre 10. Nils Grosch, Musical Comedy, Pastiche and the Challenge of 'Rewriting' Part IV. Constructing Meaning through Intertextual Music 11. Tijana Popovi Mladjenovi and Leon Stefanija, The Musical Text as a Polyphonic Trace of Otherness 12. Mark Hutchinson, 'Strange and dead the ghosts appear': Mythic Absence in Hölderlin, Adorno and Kurtág 13. Francesca Placanica, Constructing 'Cathy': Intertextuality and Intersubjectivity in Luciano Berio's 'Recital I (for Cathy)' 14. Edward Venn, Findings, Keepings and Borrowings: Uncanny Intertextuality in Thomas Adès's 'Powder Her Face'
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