Criteria of plagiarism in musical art: historical aspect of the problem
The research analyzes the interpretations of the borrowing phenomenon in various eras of the musical art development (primarily Baroque and the 19th century). It has been shown that the ambiguity of specific interpretations of this phenomenon is due to: 1) the absence of clear “formal” criteria for creative originality, much greater freedom in handling “someone’s material” in artistic work; 2) historical variability in the interpretation of the borders of the opposition “own/someone’s”, their mobility. Aesthetic positions on the issue of novelty and plagiarism in art are also considered. It has been shown that historical variability in the interpretation of borrowings reflects the transformations that took place in the system of musical thinking as a whole. Thus, in the Baroque era, the criterion of originality was in the art of the thematism development, its originality was not of paramount importance. In the 19th century for composers it was important the individual representativeness of the material. In general, the interpretation of forms of borrowing in different historical periods is determined by two types of context: a specific artistic; general history. Criteria that allow distinguish different versions of borrowing in music are following: conscious / unconscious nature of manifestation; the extent of the borrowing itself (from a single theme to an entire composition); the degree of transformation of the primary source; emphasizing the originality of the thematic material / features of its transformation. Based on them, the plagiarism situation is defined as the attribution of someone else’s holistic text to yourself without changes in its structural-semantic organization. The conclusion raises the question of the application of this concept in the art of the 20th–21st centuries.
plagiarism, borrowing, originality, reworking, individuality, creative work.
Denisov A. Criteria of plagiarism in musical art: historical aspect of the problem // South-Russian Musical Anthology. 2022. No. 1. Pp. 41–46.