Akademik Veri Yönetim Sistemi
Atlas 7th International Social Science Congress, Budapest, Macaristan, 23 - 25 Eylül 2020, cilt.1, sa.1, ss.268-280
Introduced by literary linguistics, the term intertextuality states that a literary work is not simply the product of a single author, and suggests that the text’s relations with other texts are viewed from a social, cultural and historical point of view, both from the author and the reader. The set of subjects treated in the intertextuality analogously, are analyzed in studies in the area of musicology in a parallel universe. The scope of this paper is to study multidisciplinary of the theory of intertextuality related to musical analysis. In addition to the affinities, this study also considers the differences between the disciplines, and accepts that Johann Sebastian Bach’s Well Tempered Clavier Prelude No. 1 in C Major BWV 846 had no previous references. This musical work is used as a model to exemplify cases of intertextuality in music in the nineteenth and twentieth centuries. The musical text is remembered, echoed and recreated in accordance with the complex individual contexts of each composer. The observed cases are Frederic Chopin’s Etude Op. 10 No. 1 in C Major, Leopoldo Godowsky’s Study on Frederic Chopin Op.10 No. 1 in C, Dimitri Shostakovich’s Prelude Op. 34 No. 1 in C Major, and Witold Lutoslawsky’s Etudo No. 1 in C Major. Therefore, a literary review on intertextuality was carried out in order to summarize and interpret the previously determined theme through a descriptive analysis of musical cases. The study concludes that the identification’s understanding of the intertextuality of the referenced material proposes implicit or explicit meanings, favoring a critical reading of the reviewed musical cases.