This book has its origin in two international conferences held at opposite ends of the European continent: the first, ‘Intertextuality in music since 1900’, organised by the CESEM (Centro de Estudos de Sociologia e Estética Musical) research centre, took place at the Faculty of Social Sciences and Humanities, Universidade Nova, in Lisbon, Portugal, in March 2015, in cooperation with the Institute of Musicology, Leopold-Franzens-Universität Innsbruck, Austria; the second, ‘Explicitly intertextual music since 1890’, an initiative of the Institute of Music Theory, Stanisław Moniuszko Academy of Music, took place in Gdańsk, Poland, in May 2019. As the respective conveners and active participants in both conferences, Paulo F. de Castro and Violetta Kostka joined efforts to assemble a collection of essays, partly based on revised and enlarged versions of papers originally read at the two conferences, supplemented by a number of specially commissioned essays from internationally renowned scholars, with the aim of creating a substantial contribution to the scholarly literature on the subject of intertextuality and music, as well as providing a reference point and framework for future research in the field. This book, coedited in collaboration with William A. Everett, from the University of Missouri-Kansas City Conservatory (USA), is thus the result of a genuinely international cooperation, involving scholars of different nationalities and belonging to different academic traditions, which, it is hoped, has lent the book a healthy diversity in terms of thematic scope and methodological approaches, a diversity that seems especially appropriate to any discussion of intertextuality.
|Title of host publication||Intertextuality in Music|
|Subtitle of host publication||Dialogic Composition|
|Editors||Violetta Kostka, Paulo Ferreira de Castro, William A. Everett|
|Place of Publication||London|
|Number of pages||10|
|Publication status||Published - 18 Jun 2021|