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The Musical Work: Reality or Invention?Reality or Invention?$
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Michael Talbot

Print publication date: 2000

Print ISBN-13: 9780853238256

Published to Liverpool Scholarship Online: June 2013

DOI: 10.5949/UPO9781846313615

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 17 April 2021

Intertextuality and Hypertextuality in Recorded Popular Music

Intertextuality and Hypertextuality in Recorded Popular Music

Chapter:
(p.35) 2 Intertextuality and Hypertextuality in Recorded Popular Music
Source:
The Musical Work: Reality or Invention?
Author(s):

Serge Lacasse

Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9780853238256.003.0003

This chapter proposes a comprehensive typology of recorded popular music by applying, in adapted form, a set of concepts introduced by the literary critic Gérard Genette. Genette's ‘hypertextuality’ should be considered a subcategory of ‘intertextuality’. In this approach, a distinction must be made between hypertexts (texts based on earlier texts) and hypotexts (texts serving as models for later texts). The intertextual relationship between hypertexts and hypotexts may be either autosonic (reproducing the original sound) or allosonic (imitating the original sound), syntagmatic (concerned with material) or paradigmatic (concerned with style). Recorded popular music can be located along the autosonic/allosonic and syntagmatic/paradigmatic axes. This chapter shows how musical substance can migrate from one recorded performance to another in a number of ways, thus apparently making the notion of ‘work’ more elusive than ever.

Keywords:   Gérard Genette, popular music, hypertextuality, intertextuality, hypertexts, hypotexts, work, autosonic, allosonic, syntagmatic

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