Z historii zapożyczeń "muzyki w muzyce"

Abstract

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.