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  1. 1 Aspekty Muzyki

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  1. 1 Kienik T.

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Interteksty i archeteksty. Tekst biblijny i kompozycje Magnificat XX i XXI wieku — studium wybranych przypadków

100%
Kienik T.
Aspekty Muzyki
|
2017
|
vol. 7
85-104
EN
The content of this paper belongs to the discussion on the issue of intertextuality, referring both to the Biblical text of the canticle of Mary — the Magnifi cat and to its musical realiza-tions in the 20th century music. In the introduction, the author discusses the term “intertextuality” pointing out its non-musical definitions, and referring to the works of such renown authors, such as R. Nycz, G. Genette, J. Sławiński, and Z. Mitosek. From the point of view of the theory of music, it was not the author’s purpose to over-extrapolate this notion (related to the theory of literature), but primarily to find some specific expressions of “purely musical” intertextuality in certain Magnifi cat compositions. Hence, the attempt to name and order these expressions, as well as to build the parallel between the apparent intertextuality of the Biblical text itself, and the pro-posed intertextuality of the few analysed musical works. The first part of the article, based on stud-ies of leading Biblical scholars (and also on the author’s own research), includes the reconstruction of the dynamics of the canticle of Mary, referred to other Biblical excerpts, taken from the Books of Samuel, Habakkuk, Isaiah, Job, and the Book of Psalms. By identifying the significant influences of Israel’s cultural heritage on the text of the Mag-nifi cat, the article reveals certain so-called “ache-” and “metatexts”. The second part of the study includes the analysis of the selected musical compositions by Christine Donkin, Juliusz Łuciuk, Wojciech Kilar, John Rutter, and Mark Hayes. These musical works are stylistically different, and rooted in separate cultures. The analysis was aimed at identifying the specific (intertextual) features of these musical compositions and at revealing the specific procedures (e.g. citations) that a given composer applied by fusing his own works with the pieces written by others. These decisions, as the article claims, were taken for various, artistically justified reasons.
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