Intertextuality in Music

Violetta Kostka is currently a professor at the Stanislaw Moniuszko Academy ofMusic in Gdansk. She has won scientific scholarships from the University of Cambridge, thePolish Library in Paris and the State Committee of Scientific Research in Poland. Herresearch achievements include two books in Polish: Tadeusz Zygfryd Kassern and his Idiomsof the Twentieth-century Musical Styles (2013) and Pawel Szymanski's Music in Light ofIntertextual Poetics of Postmodernism (2018), and about eighty articles, published in DieMusik in Geschichte und Gegenwart, Tempo: A Quarterly Review of Modern Music, Studiesin Musical Theatre, Res Facta Nova, Musicology Today, Avant: Trends in InterdisciplinaryStudies and Muzyka, among other places. Paulo F. de Castro studied musicology in Strasbourg and London, taking a PhD at RoyalHolloway College with a thesis on the musical relevance of Wittgenstein's philosophy. Hehas written music criticism and musicological essays on the history and aesthetics ofnineteenth- and twentieth-century music in France, Russia and the Iberian Peninsula, and isthe co-author of a book on the history of music in Portugal that has been translated intoEnglish, French and Mandarin. From 1992 to 2000 he was Director of the Lisbon Opera.Paulo F. de Castro is currently Associate Professor and Department Coordinator at NOVAFCSH (Universidade Nova de Lisboa) and a member of the CESEM research centre. Publications include: A network of meaning(s): Paul Dukas's La Plainte, au loin, du faune? as anintertextual case study, in Helen Julia Minors and Laura Watson (eds.), Paul Dukas: Legacies of a French Musician, (Routledge, 2019); Dionysian or Tectological? On the Cultural Meaning of the 'Machine Music' Topic in the Early Soviet Context, in Music and the Second Industrial Revolution, in Massimiliano Sala (ed.), (2019) and Music Criticism in Portugal: Towards an Overview, in Christopher Dingle (ed.), The Cambridge History of Music Criticism (2019).William A. Everett, PhD is Curators' Distinguished Professor of Musicology at theUniversity of Missouri-Kansas City Conservatory of Music and Dance, where he teachescourses ranging from medieval music to American musical theater. His books includebiographies of operetta composers Sigmund Romberg (2007) and Rudolf Friml (2008) andMusic for the People: A History of the Kansas City Philharmonic Orchestra, 1933-82 (2015).He is contributing co-editor of The Cambridge Companion to the Musical (2002; 2nd ed.,2008; 3rd ed., 2017) and The Palgrave Handbook of Musical Theatre Producers (2017). Healso co-edited Performing Music History: Musicians Speak First-hand about Music Historyand Performance (Palgrave, 2018). Everett edits Elements in Musical Theatre, a new seriesfrom Cambridge University Press. He published The Musical: A Research and Information Guide (2004; second edition, 2011) with Routledge, and is one of three co-editors for the Routledge Companion to Musical Theatre, coedited with Laura MacDonald and Ryan Donovan, (forthcoming).