DOI: 10.36871/hon.202104004
Authors
I. V. Alekseeva
Ufa State Institute of Arts named after Zagir Ismagilov, Ufa, Republic of Bashkortostan, Russian Federation
Abstract
The article discusses some of the notable and promising ideas of M. G. Aranovsky, developed
into a theory of intertextual interactions. Having independent scientific and applied significance,
this theory has found a continuation in a number of studies by the Ural musicologists
of the last decade. These works, aimed at exploring the semantic organization of musical text
by composers of different eras and styles, are based on the methodology of the outstanding
scientist, whose unique theory as a result receives further life and development. The article
attempts to determine the value and prospects of these works and, in this regard, analyzes the
main provisions, observations and generalizations presented in some of the most interesting
studies, carried out using the tools of intertextual interactions analysis and solving the problem
of comprehending the processes of textual meaning making.
In assessing the prospects for the concept of intertextual interactions, the application of
M. G. Aranovsky's theory provides an opportunity to answer questions about the meaning of composers' appeal to "alien" musical material, about the ways and principles of forming a new
text, about the specificity of artistic thinking, in general. At the same time, the study of intertextual
interactions opens perspectives for comprehending the processes of intercultural exchange.
Keywords
musical text, interaction, borrowing, transformation, meaning making
