Examining musical theatre pieces of the 1970s in the German Democratic Republic and Portugal, especially such works of Costança Capdeville (Portugal) and Friedrich Schenker (GDR) we find an extensive network of intertextual structures. Thinking of works as Kammerspiel II. Missa nigra by Friedrich Schenker (1979) and Mise-en-requiem by Costança Capdeville (1979) we can see that the composers worked with diversified techniques as musical material, quotations, allusions, musical and textual forms, existing textual material, scenic elements and many others in the field of text, music, and scene. By doing so the composers established ways of communication and interaction between themselves as the authors and the interpreters and also between themselves and their audience, communication structures which also include the communication with the basic texts, compositions and other cultural structures where this material comes from. In my paper I will present the intertextual structures by analysing these both works and also by discussing the possibilities and functions of the communication and interaction aspects.
|Number of pages||2|
|Publication status||Published - 2015|
|Event||International Conference Intertextuality in Music since 1900 - Faculdade de Ciências Sociais e Humanas, Lisboa, Portugal|
Duration: 6 Mar 2015 → 7 Mar 2015
|Conference||International Conference Intertextuality in Music since 1900|
|Period||6/03/15 → 7/03/15|
- música de câmara