The Protestant Chorale as the Object of Intertextual Interaction: the Example of Hymn “O Ewigkeit, du Donnerwort”
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Abstract
The Protestant chorale of the period of German Reformation represents the phenomenon which, despite its external simplicity and laconicism of musical means, comprises unique capacity for the intertextual interaction. The historical retrospective demonstrates how the chorale extended its effect outside the limits of church genre and managed to participate in formation of new forms – cantatas, symphonies, requiems, operas, concerts etc. Its research allows studying principles and mechanisms of growth of the new text. The received musical derivatives which have grown on choral lexicon, show the originality of author’s work, specificity of thinking of the composer, its relation to the symbolic aspects of hymns and, therefore, the latent message put by it in product. A key to perusal of the new text is the hymn, to be exact – first phrase in which verbal text under laws of rhetoric and homiletic the basic thought of all hymn is concluded. Owing to the recognition the choral theme in intertext space starts to act in a role of a musical symbol, whose sense passes further in a context of any other composition.
Keywords: Protestant choral, intertext, hymn, J. S. Bach, musical symbol, metatext
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