Semantic and Structural Potential of Autoreferentiality in the Music of Bent Sørensen
Abstract
The article focuses on the phenomenon of autoreferentiality and the forms of its semantic and structural realization in the music of the Danish composer Bent Sørensen (b. 1958). Based on the classification proposed by Maria Romanets, two types of intertextual interactions are considered — the corpus type (featuring self-derivation of the material of the entire work) and the lexical type (featuring self-quotation). The material for the analysis was formed by the musical compositions written by Sørensen during the last twenty years: the Concerto for Accordion It is Pain Flowing Down Slowly on a White Wall (2010), the triple concerto L’Isola della città (2015), the orchestral works Exit Music (2007) and Evening Land (2017), the composition for orchestra, chorus, actors and audience, Sounds Like You (2008), the trilogy Papillons (2013‒2014), and the St. Matthew Passion (2021). Analysis of this music discloses the specificity of the self-quoted material, which is associated with its ambiguity stipulated by a balancing between the original authorial utterance and appealing to an “alien” style. As a result of this, the crucial semantic spheres (the role of the past and traditions, the disintegration of culture, the motives of departure and loss) that are characteristic of the composer’s late work are revealed. In the works composed entirely on the basis of previously written musical material, the processes of genre transformations are noted, which are determined, among other things, by the need to explore the musical material in new conditions and the wish to renew the strategies of the musical narrative. Overall, Sørensen’s autoreferentiality becomes an important mechanism of cultural reflection and self-reflection.
Keywords: Danish music, Bent Sørensen, autoreferentiality, self-derivation, autoquotingFull Text:
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DOI: http://dx.doi.org/10.56620/2782-3598.2024.2.122-137
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