Motif structures in andalusian music in the content ofintertextual relations

The term intertextuality used by Julia Kristeva since the 1960s Intertextuality asserts that a text can't be existed by oneself, and it carries the traces of the antecedents. The theory, which combines different pieces such as mosaics in a texture, emphasizes the rewriting between texts. Intertextuality focuses on the affiliations between two or more texts. Throughout history, this relationship has continued to exist in every period of literary genre. In music, as in the literary genre, composers reintroduced what was previously written into their own works with quotations and stylistic transfers. In this way, they both showed their respect to the composers before them, and also provided intergenerational transmission by rewriting the old one. In the study, firstly, the theory of intertextuality will be mentioned, and intertextual methods will be explained. In addition to the reflection of the theory of intertextuality in music, the transfers and rewriting of composers in the historical process will be mentioned. Secondly, by giving information about the historical and cultural structure of the Andalusia region, the rich cultural tradition that emerged in this region will be mentioned. Accordingly, the distinctive musical features of Andalusia, which was shaped by the oral tradition, will be mentioned. Finally, the motifs in these works will be evaluated within the scope of intertextuality by giving examples from the works written dedicated to Andalusia.