The use of existing music in new works is a widespread practice in recent art music, considering the number of “recompositions” that have been written since the late Eighties, and their remarkable variety in techniques, style and aesthetics. Nevertheless, essays on specific works have been published but no systematic musicological research has been undertaken on this phenomenon. The aim of this thesis is therefore to investigate musical borrowing in late twentieth- and early twenty-first-century Western art music both from a theoretical and a practical perspective. In the first part, different approaches to the study of musical borrowing by Burkholder, Straus, Metzer and Watkins are reviewed, with particular emphasis on methods and epistemological frameworks. Part two then broadens to include literary, semiotic and philosophical knowledge on the subject, with reference to theories of Genette, Eco, Steiner and Gadamer. Finally, part three consists of a multiple case-study of eight works composed by several authors between 1990 and 2013 using Gesualdo’s music (i.e. Adolphe, Dean, Eötvös, Francesconi, Haas, Mantovani, Ronchetti, Sciarrino). The results of this in-depth analysis show that a comparative study on musical borrowing as a creative interaction with tradition not only can provide a valuable improvement of our knowledge on individual authors but also can advance our understanding of the current condition of Western art music.

LA RISCRITTURA NELLA MUSICA CONTEMPORANEA. RIFLESSIONI TEORICHE E STUDIO DI UN CASO / M. Laterza ; tutor: C. Toscani ; coordinatore: G. Fiaccadori. - : . DIPARTIMENTO DI BENI CULTURALI E AMBIENTALI, 2015 Feb 13. ((26. ciclo, Anno Accademico 2013. [10.13130/m-laterza_phd2015-02-13].

LA RISCRITTURA NELLA MUSICA CONTEMPORANEA. RIFLESSIONI TEORICHE E STUDIO DI UN CASO

M. Laterza
2015

Abstract

The use of existing music in new works is a widespread practice in recent art music, considering the number of “recompositions” that have been written since the late Eighties, and their remarkable variety in techniques, style and aesthetics. Nevertheless, essays on specific works have been published but no systematic musicological research has been undertaken on this phenomenon. The aim of this thesis is therefore to investigate musical borrowing in late twentieth- and early twenty-first-century Western art music both from a theoretical and a practical perspective. In the first part, different approaches to the study of musical borrowing by Burkholder, Straus, Metzer and Watkins are reviewed, with particular emphasis on methods and epistemological frameworks. Part two then broadens to include literary, semiotic and philosophical knowledge on the subject, with reference to theories of Genette, Eco, Steiner and Gadamer. Finally, part three consists of a multiple case-study of eight works composed by several authors between 1990 and 2013 using Gesualdo’s music (i.e. Adolphe, Dean, Eötvös, Francesconi, Haas, Mantovani, Ronchetti, Sciarrino). The results of this in-depth analysis show that a comparative study on musical borrowing as a creative interaction with tradition not only can provide a valuable improvement of our knowledge on individual authors but also can advance our understanding of the current condition of Western art music.
TOSCANI, CLAUDIO
FIACCADORI, GIANFRANCO
musical borrowing; music in the late 20th and 21st centuries; music analysis; intertextuality; hermeneutics; Gesualdo da Venosa
Settore L-ART/07 - Musicologia e Storia della Musica
LA RISCRITTURA NELLA MUSICA CONTEMPORANEA. RIFLESSIONI TEORICHE E STUDIO DI UN CASO / M. Laterza ; tutor: C. Toscani ; coordinatore: G. Fiaccadori. - : . DIPARTIMENTO DI BENI CULTURALI E AMBIENTALI, 2015 Feb 13. ((26. ciclo, Anno Accademico 2013. [10.13130/m-laterza_phd2015-02-13].
Doctoral Thesis
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2434/256393
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