1st Edition

Intertextuality in Music
Dialogic Composition



  • Available for pre-order. Item will ship after June 17, 2021
ISBN 9780367552909
June 17, 2021 Forthcoming by Routledge
280 Pages 12 B/W Illustrations

USD $160.00

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Book 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 born 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.

Table of Contents

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
  5. Part II. The Intertextual Poetics of Music

  6. Violetta Kostka, Intertextual Poetics: From Ryszard Nycz’s Theory to Paweł Szymański’s Music
  7. Katarzyna Szymańska-Stułka, Barbara Skarga'sTrace and Presence’ as an Intertextual Category in Music: The Case of Dariusz Przybylski’s ‘Schübler Choräle’ for Organ, Op. 48
  8. Alexander Kolassa, Intertextuality and (Modernist) Medievalism in British Post-War Music
  9. Part III. In Light of Genette’s Transtextuality

  10. Paulo F. de Castro, Transtextuality according to Gérard Genette ─ and beyond
  11. William A. Everett, ‘The Geisha’ (1896) as a Locus of Transtextuality in Popular Musical Theatre
  12. Nils Grosch, Musical Comedy, Pastiche and the Challenge of ‘Rewriting’
  13. Part IV. Constructing Meaning through Intertextual Music

  14. Tijana Popović Mladjenović and Leon Stefanija, The Musical Text as a Polyphonic Trace of Otherness
  15. Mark Hutchinson, ‘Strange and dead the ghosts appear’: Mythic Absence in Hölderlin, Adorno and Kurtág
  16. Francesca Placanica, Constructing ‘Cathy’: Intertextuality and Intersubjectivity in Luciano Berio’s ‘Recital I (for Cathy)’
  17. Edward Venn, Findings, Keepings and Borrowings: Uncanny Intertextuality in Thomas Adès’s ‘Powder Her Face’

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Editor(s)

Biography

Violetta Kostka is currently a professor at the Stanisław Moniuszko Academy of Music in Gdańsk. She has won scientific scholarships from the University of Cambridge, the Polish Library in Paris and the State Committee of Scientific Research in Poland. Her research achievements include two books in Polish: Tadeusz Zygfryd Kassern and his Idioms of the Twentieth-century Musical Styles (2013) and Paweł Szymański’s Music in Light of Intertextual Poetics of Postmodernism (2018), and about eighty articles, published in Die Musik in Geschichte und Gegenwart, Tempo: A Quarterly Review of Modern Music, Studies in Musical Theatre, Res Facta Nova, Musicology Today, Avant: Trends in Interdisciplinary Studies and Muzyka, among other places. Paulo F. de Castro studied musicology in Strasbourg and London, taking a PhD at Royal Holloway College with a thesis on the musical relevance of Wittgenstein’s philosophy. He has written music criticism and musicological essays on the history and aesthetics of nineteenth- and twentieth-century music in France, Russia and the Iberian Peninsula, and is the co-author of a book on the history of music in Portugal that has been translated into English, French and Mandarin. From 1992 to 2000 he was Director of the Lisbon Opera. Paulo F. de Castro is currently Associate Professor and Department Coordinator at NOVA FCSH (Universidade Nova de Lisboa) and a member of the CESEM research centre. Publications include: “A network of meaning(s): Paul Dukas’s La Plainte, au loin, du faune… as an intertextual case study”, in Helen Julia Minors and Laura Watson (eds.), Paul Dukas: Legacies of a French Musician, (Routledge, 2019); "Dionysian or Tectological? On the Cultural Meaning of the ‘Machine Music’ Topic in the Early Soviet Context", in Music and the Second Industrial Revolution, in Massimiliano Sala (ed.), (2019) and "Music Criticism in Portugal: Towards an Overview", in Christopher Dingle (ed.), The Cambridge History of Music Criticism (2019). William A. Everett, PhD is Curators’ Distinguished Professor of Musicology at the University of Missouri-Kansas City Conservatory of Music and Dance, where he teaches courses ranging from medieval music to American musical theater. His books include biographies of operetta composers Sigmund Romberg (2007) and Rudolf Friml (2008) and Music for the People: A History of the Kansas City Philharmonic Orchestra, 1933-82 (2015). He is contributing co-editor of The Cambridge Companion to the Musical (2002; 2nd ed., 2008; 3rd ed., 2017) and The Palgrave Handbook of Musical Theatre Producers (2017). He also co-edited Performing Music History: Musicians Speak First-hand about Music History and Performance (Palgrave, 2018). Everett edits Elements in Musical Theatre, a new series from Cambridge University Press. He published The Musical: A Research and Information Guide (2004; second edition, 2011) with Routledge, and is one of three co-editors for the Routledge Companion to Musical Theatre, coedited with Laura MacDonald and Ryan Donovan, (forthcoming).