Intertextuality in Music : Dialogic Composition (Paperback)

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 Paweł Szyma?ski’s Music Katarzyna Szyma?ska-Stułka, Barbara Skarga's ‘Trace and Presence’ as an Intertextual Category in Music: The Case of Dariusz Przybylski’s ‘Schubler Chorale’ 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 Popovi? Mladjenovi? and Leon Stefanija, The Musical Text as a Polyphonic Trace of Otherness Mark Hutchinson, ‘Strange and dead the ghosts appear’: Mythic Absence in Holderlin, 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’