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Forms of intertextuality: Keith Emer...

The University of North Carolina at Chapel Hill.

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Forms of intertextuality: Keith Emerson's development as a "crossover" musician.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Forms of intertextuality: Keith Emerson's development as a "crossover" musician./
作者:	Kawamoto, Akitsugu.
面頁冊數:	372 p.
附註:	Adviser: John Covach.
Contained By:	Dissertation Abstracts International67-02A.
標題:	Biography. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3207371
ISBN:	9780542544651

Forms of intertextuality: Keith Emerson's development as a "crossover" musician.
Kawamoto, Akitsugu.

Forms of intertextuality: Keith Emerson's development as a "crossover" musician. - 372 p.

Adviser: John Covach.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2006.

Despite the broad range of attempts to mix "rock" and "classical" music by "progressive ("prog") rock" musicians from the late 1960s, many writers on prog rock have interpreted the music in a relatively monolithic manner; they often have interpreted the resulting intertextuality simplistically as an elitist experiment that opposes rock's populist origin. This could certainly be one interpretation of prog, but it is only one of many; there are additional kinds of possible narratives, according to the specific ways in which the materials are combined and fused. Yet the variety of intertextual approaches has rarely been recognized explicitly, and little analytical or musicological attention has been paid to the distinctly different intertextual styles. Generalized approaches to intertextuality have been common not only within popular music studies, however, but also within many humanistic fields. Since Julia Kristeva's coinage of the term intertextuality in the late 1960s, theorists of the arts (literature, music, painting, architecture, etc.), sociology, politics, economics, and many other fields, have almost always treated intertextuality in a singular manner, presuming that all intertextual practices are more or less of the same kind. Consequently, dynamic aspects of intertextuality that result from correlation between diverse forms of intertextuality have rarely been fully considered, though they play crucial roles in the history of twentieth-century arts.

ISBN: 9780542544651Subjects--Topical Terms:

531296
Biography.

Forms of intertextuality: Keith Emerson's development as a "crossover" musician.
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520 $a Despite the broad range of attempts to mix "rock" and "classical" music by "progressive ("prog") rock" musicians from the late 1960s, many writers on prog rock have interpreted the music in a relatively monolithic manner; they often have interpreted the resulting intertextuality simplistically as an elitist experiment that opposes rock's populist origin. This could certainly be one interpretation of prog, but it is only one of many; there are additional kinds of possible narratives, according to the specific ways in which the materials are combined and fused. Yet the variety of intertextual approaches has rarely been recognized explicitly, and little analytical or musicological attention has been paid to the distinctly different intertextual styles. Generalized approaches to intertextuality have been common not only within popular music studies, however, but also within many humanistic fields. Since Julia Kristeva's coinage of the term intertextuality in the late 1960s, theorists of the arts (literature, music, painting, architecture, etc.), sociology, politics, economics, and many other fields, have almost always treated intertextuality in a singular manner, presuming that all intertextual practices are more or less of the same kind. Consequently, dynamic aspects of intertextuality that result from correlation between diverse forms of intertextuality have rarely been fully considered, though they play crucial roles in the history of twentieth-century arts.
520 $a This dissertation suggests the need to view intertextuality in its multiplicity and dynamism, by disclosing and interpreting a variety of intertextual practices and their important historical developments in the case of prog-rock keyboardist Keith Emerson's "crossover" music. Six new models of intertextuality are introduced and explored in detail as Emerson's important intertextual styles. These models are termed: background intertextuality, dialectic intertextuality, revisionary intertextuality, subtle intertextuality, multi-ply intertextuality, and framed intertextuality. These are distinct from the Bakhtinian "dialogic" model of intertextuality, but play crucial roles in the stylistic development of the musician. This study thus proposes and models a range of pragmatic ways to expand the scope of inter-textual analysis, and transcend the limits of certain intertextuality theories in music, as well as in the arts in general.
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