The Principle of Quotation in the 19th Century Music – the Aesthetics and Composer Practice
The aim of the work is to show a new interpretation of the quotation principle in the 19th century music in comparison with the previous eras. It reveals in two aspects: aesthetic positions, concerning a problem of borrowing; interpretation of structure, and semantics of the quoted material. It is shown that in the 19th century the principle of quotation is exposed to considerable individualization. Composers use different primary sources, treat intonational material of the quote much more freely, transforming it, vary a genre context, placing, for example, liturgical material into the opera or the symphony. The quoted material often becomes a discussion subject, sometimes quite polemical. The primary source can be exposed to reconsideration up to full inversion of its contents. At the same time an individual representativeness and style uniqueness of material are very important for the composers of this era (unlike the Baroque era for which an aspects of development and transformations were in the forefront). The functions of the quote take extremely various character. On the one hand, the addressing the quote as to «timehonored » material is possible. On the other hand, there was a game view on someone else’s material when it could become a parody. At last, the same subject allows unequal treatment, being a bearer of several values, in different situations of quote sounding into the forefront, one of them can act. The author comes to a conclusion that the interpretation of the quotation principle in the 19th century demonstrates radical transformation of the composer thinking even more often seeking to subordinate the borrowed material to his own context.
quote, aesthetics, poetics, semantics, structure, text.