Intertextuality in Music. Variations on the Topic

Abstract

The article deals with the problem of «one's own» and «another's» which has received certain modifications in each epoch. When composer uses «someone else's word» he follows some logic which is applied to the using of borrowed elements. Any borrowing serves the meaning of the work. Stylistic synthesis characteristic for the art of the ХХ-ХХI centuries allowed us to discover new dimensions of the habitual and along with the old ones created new modes of intertextuality. In this vast field special emphasis is made on J.S. Bach's music. Constantly referring to his writings composers of the XX-XXI centuries provided us the opportunity to study Bach in a «reflected» form in their own compositions. The author dwells on the works by P.I. Tchaikovsky, A. Honegger, E. Denisov, D. Shostakovich, A. Schnittke, V. Ryabov where different techniques of borrowing are used: quotation, allusion, monogram, «trace structure».

Keywords: music of the XX-XXI centuries, borrowing technique, I.S. Bach