Abstrakt: | The article makes a historical overview of various methods of
borrowings in music, the so called presence of „music in music”,
the presence of works composed earlier (or their fragments) in
music written later on. The very practice was very broad and
diversified, however, depending on a given epoch, its usage was
becoming either a rule or exception. In some epochs, borrowing
made it possible to show special meanings and was a solution to
a special kind of communication taking place between an author
and the audience. An overview of the very issues shows that
each composer and improvisator usually knew well the procedure
of borrowing and rewriting already existing music. Such
a procedure, though, has always constituted a vital part of
a composer’s equipment. |