Gdańsk, 23rd-24th May 2019
organized by the Stanisław Moniuszko Academy of Music in Gdańsk, Institute of Music Theory
Call for papers
Intertextuality, as a concept of contemporary knowledge on literature and art, is – according to Ryszard Nycz – ‘a category used to define this dimension of construction and meaning of a text (a work of art), which points to irremovable, intrinsic dependence of its creation, object status and reception on the existence of other texts and archi-texts (stylistic-specific rules, discursive-generic conventions, semiotic-cultural codes), as well as on the ability of persons participating in cultural cognition and communication process to recognise these inter- and archi-textual references’. What are the possibilities and limitations connected with transposing this category into the situation of music understood as a message?
In the 20th and 21st century there have been many composers who, in different ways, referred to traditional forms, genres, styles, conventional measures or techniques; they cited, paraphrased or transformed, in a specific manner, other musical ‘texts’. Those strategies became norms of their own compositional ‘languages’. Among these composers were, for example, Gustav Mahler, Charles Ives, Igor Stravinsky, Benjamin Britten, George Rochberg, Alfred Schnittke, David Del Tredici, Vladimir Martynov, Salvatore Sciarrino, Wolfgang Rihm, Michael Daugherty, Paweł Szymański, Osvaldo Golijov, Thomas Adès, Jörg Widmann, Maxim Kolomiiets, Andrzej Kwieciński. Are we able to recognise all the references to other texts, made by the above-mentioned composers? Which inter- and archi-texts evoke our quicker reactions? What are the benefits of recognising inter- or archi-texts?
The conference will address two groups of issues: (1) theoretical, methodological and aesthetic aspects of intertextuality in music in critical approaches, (2) interpretation of explicitly intertextual works from the area of classical, film, theatre and jazz music. We suggest that the following issues could be considered:
- Michael Riffaterre’s concept of interpretant and Ryszard Nycz’s concept of intertextual exponent as research tools in musicology
- strategies for citing texts from the past and for composing them anew
- references to stylistic norms and to generic and formal rules
- intertextual poetics
- memory of recipients and texts from the past
- complex process of listening to and interpreting works which are explicitly intertextual
- intertextuality and meanings of a text
- intertextuality and the issue of authenticity
Paulo F. de Castro, The New University of LisbonWilliam A. Everett, University of Missouri-Kansas CityVioletta Kostka, Academy of Music in Gdańsk
Violetta Kostka, Danuta Popinigis, Renata Skupin
The official language of the conference is English. Presentations should be 20 minutes in length, and will be followed by an additional 10 minutes for discussion. Titles and abstracts of maximum 300 words should be sent to email@example.com The proposals should also include name, affiliation, e-mail, telephone number, postal address and short biography. The deadline for submitting proposals is February 17th, 2019. The final decision of the committee on the selection of the papers will be announced no later than February 23rd, 2019. Selected papers are supposed to be published in English in a yearbook ‘Aspekty Muzyki’.
Conference fee: 90 EUR (academic researchers), 45 EUR (PhD candidates). The fee includes two lunches, reception, coffee breaks with refreshments and publicity. The organizers do not cover travel expenses or accomodation. All speakers whose papers are accepted for presentation will receive necessary information (including bank transfer details and list of suggested hotels and hostels) via e-mail.