Transtextuality in contemporary music

Abstract

The purpose of this thesis is to develop a materialistic approach for the use of transtextuality in music composition. As a concept from literary theory, transtextuality proposes that no text is new, but rather transcendent from another text. However, when applying this concept to music, one should take into account that a sole semiological approach risks idealizing the musical experience and disregarding the materiality of the acoustic phenomena. Rather, by engaging in a materialistic approach, to which this thesis found the basis in Deleuze's philosophy, we are able to comprehend transtextuality as a form of capturing forces. Transtextuality becomes material in itself. Furthermore, the thesis justifies the use of citations by apprehending the composer as a bricoleur, who engages with the texts in his surroundings during the poietic process. The "transtextual nature" of citations is there, it is materialistic and real, but our approach focuses towards recycling the material itself, not the idea that it represents.