Self-Derivation in the Oeuvres of 20th Century Composers: Towards Setting the Problem
Article Sidebar
Main Article Content
Abstract
Self-derivation presents a special type of textual derivation, an attributive sign of which is the appellation towards
the composer’s own previously written material and its inclusion into a new artistic integrity. In practice, it realizes
itself in two basic forms – a repeated turn back to a complete work or to a fragment of it. The results of this type of
work on one’s own compositions are the composer’s new versions, transcriptions, orchestrations, suites composed
from music for theater or cinema, as well as genre-related transcriptions. Self-derivation of a fragment of a composer’s
own musical text is labeled as self-quotation.
Self-quotation presents a special variety of self-derivation, on the one hand, typologically related to the broader
phenomenon of quotation, and on the other hand endowed with specific differences. Among the characteristic features
determining the essence of quotation, in the conditions of the unity of authorship of the primary artistic source and the
recipient musical text the most relevant are the scale, the boundaries, the degrees of recognizability and the functions.
The enumerated parameters present the criteria of the typologization of self-quotations in the artistic practice of 20th
century composers.
The proportional criterion of self-quotation fixates attention on the indicator of the precision of its recreation. The
correlation of the boundaries of the source material for self-derivation and the scale of its recreation within the new
musical text makes it possible to highlight the macro-self-quotation the self-quotation of a musical fragment and the
micro-self-quotation. Based on the degree of their recognizable features, self-quotations may be differentiated into
apparent and concealed ones. In the new musical text, the incorporated element carries out various compositional and
semantic functions.
Keywords: derivation of the musical text, quotation in music, self-derivation, self-quotation, primary musical source.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Denisov A. V. Muzykal'nye tsitaty: spravochnik [Musical Quotes: A Directory]. St. Petersburg: Kompozitor- Sankt-Peterburg, 2013. 224 p.
3. Denisov A. V. O strukturnykh transformatsiyakh tsitaty v muzyke XX veka [On the Structural Transformations of Quotations in 20th Century Music]. URL: http://www.21israel-music.com/Tsitata_XX.htm (12.10.2015).
4. Denisov A. V. Fenomen muzykal'noy tsitaty – problemy issledovaniya [The Phenomenon of Musical Quotation – Issues of Research]. URL: http://www.21israel-music.com/Tsitata_kontekst.htm (10.09.2015).
5. Loseva O. V. Muzykal'naya tsitata v «epokhu tsitirovaniya» [The Musical Quotation in the “Era of Citation”]. Pamyati Evgeniya Vladimirovicha Nazaykinskogo: Interv'yu. Stat'i. Vospominaniya [In Memory of Evgeny Vladimirovich Nazaikinsky: Interviews. Articles. Memoirs]. Moscow, 2011, pp. 123–139.
6. Romanets M. S. Opusy-varianty v tvorchestve M. Ravelya [Opus-Variants in the Works of Maurice Ravel]. Yuzhnorossiyskiy muzykal'nyy al'manakh [South Russian Musical Almanac]. 2017. No. 4 (29), pp. 27–32.
7. Sokhor A. N. Nekotorye ideyno-esteticheskie problemy sovetskoy muzyki 70-kh godov [Certain Ideological and Aesthetical Issues of Soviet Music in the 1970s]. Voprosy teorii i estetiki muzyki [Questions of Theory and Aesthetics of Music]. Ed. by I. Sokhor. Issue 15. Leningrad, 1977, pp. 3–15.