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Intertextuality in Music: Dialogic Composition book cover

1st Edition

Intertextuality in Music Dialogic Composition

Edited By Violetta Kostka, Paulo F. de Castro, William A. Everett Copyright 2021
248 Pages 12 B/W Illustrations
by Routledge

248 Pages 12 B/W Illustrations
by Routledge

248 Pages 12 B/W Illustrations
by Routledge
Also available as eBook on:
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... Read more

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.

  2. Nicholas Cook, Mashed-up Classics

    3.

  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

  5. Violetta Kostka, Intertextual Poetics: From Ryszard Nycz’s Theory to Paweł Szymański’s Music

    6.

  6. Katarzyna Szymańska-Stułka, 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

    8.

    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’

    11.

    Part IV. Constructing Meaning through Intertextual Music

  11. Tijana Popović Mladjenović and Leon Stefanija, The Musical Text as a Polyphonic Trace of Otherness

    12.

  12. Mark Hutchinson, ‘Strange and dead the ghosts appear’: Mythic Absence in Hölderlin, Adorno and Kurtág

    13.

  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’

Biography

Violetta Kostka trained as a musicologist at the University of Poznań 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.

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