A költészet modern fordulatát követően a dal motívuma eltávolodik egykori – a zene és líra, énekes és költő alapvető kapcsolatát magába foglaló – jelentésétől, fellelhetősége fokozottan csökkenő irányba mutat. A dal motívumának ilyen jelentésével Rilke verseiben találkozunk utoljára, Benn, Huchel és Bachmann esetében már egyre ritkábban mutatható ki. Ezzel szemben Paul Celan költeményei egy teljesen más tendenciáról tanúskodnak: az éneklés és a dal klasszikus toposzai majd minden nyolcadik versben fellelhetőek e közel hétszáz költeményt átfogó életműben. A dal motívumán kívül számtalan zenére utaló tartalmi és formai utalást találunk Celan költészetében, melyek feltárásra és rendszerezésre várnak. Jelen dolgozat célkitűzése ezen utalások felfedése, rendszerezése és bemutatása. A vizsgálódások kiinduló pontjául az a rövid tanulmány szolgált, mely a nemrég megjelent Celan-kézikönyvben található és amely elsőként nyújt mélyebb betekintést a témakörbe. Jens Finckh (2008) három alapvető utalási módot különböztet meg itt: zenei motívumokat, intermediális utalásokat, melyek egyrészt egyes zenei művekre (intermediale Einzelwerkreferenz), másrészt zenei rendszerekre, műfajokra (intermediale Systemreferenz) vonatkoznak. Ebből a felosztásból kiindulva a következő aspektusok kerülnek a vizsgálódás középpontjába: az intermediális és nem intermediális utalások egymástól való elhatárolása, az életmű egészén végighúzódó zenei motívumok nyomon követése, különös tekintettel a dal motívumára, valamint az egyes zenei művekre és zenei rendszerekre vonatkozó intermediális utalásokat tartalmazó költemények felfedése és elemzése. Az elemzések elsődleges célja az intramediális és intermediális utalások sokszínű funkciójának feltárása, valamint olyan megközelítések alkalmazása, melyek zenei aspektusokat is megvilágítanak.

The starting point of the present study is the finding that Paul Celan’s poetry contains numerous references to music regarding content and form. The aim of the research was to present these references based on examples, as well as to systematise and analyse them. The core and starting point of the present research constitutes a systematisation of Paul Celan’s references to musicality, which are outlined in a recently appeared Celan-Handbuch. Jens Finckh (2008) distinguishes here three forms of references, which can be found in Paul Celan’s poems: musical motif, intermedial individual reference and intermedial system reference. Based on this systematisation, according to the title as, the study tries to find further musical motivic and intermedial references to music. The paper begins with an extensive chapter; 1. DER INTERMEDIALE ZUGANG ZUR LYRIK: INTERMEDIALE BEZÜGE (Intermedial approach to lyricism: intermedial references), in which the most important definitions and attempts of systematisation of the phenomenon intermediality, respectively of the relation between language and music are presented. The definition of what is called here intermedial references follows different approaches of intermediality researches: Werner Wolf’s (2001) semiologically drafted and literature-centred intermediality model, Irina Rajewsky’s (2002) approach of a conceptual clarification, Jürgen E. Müller’s (1998) and Jörg Helbig’s (1998) historical perspective, Joachim Paech’s (1998) transformative systematisation, and Wilhelm Füger’s (1998) studies in intermedial border areas. Beside the description of the most important approaches and systematisations, the introductory part of the paper also concentrates on the nexus of literature and music, and investigates the basic similarities and differences between the two media , based on the theoretical achievements of Theodor W. Adorno (1956) , Wilfried Gruhn (1978) , Albert Gier (1995) , Peter Zima (1995) and Sabine Bayerl (2002) . Subsequently Werner Wolf’s (2002) and Irina Rajewsky’s (2002) strict systematisations are highlighted and presented in details, according to which three qualities are ascribed to intermediality (media combination, medial transposition, and intermedial references). The latter mentioned field constitutes the background of the following research. The field of intermedial references, which has two forms, individual reference (i.e. reference of a medial product to an individual foreign medial product), respectively system reference (i.e. reference to a foreign medial semiotic system), in the course of the research and in the light of further approaches, is accentuated and limited. Thereby both the Comparative Art Studies perspective: Steven Paul Scher (1984) , Calvin S. Brown (1984) and Horst Petri (1984) , and the latest approaches are considered, which deal exclusively with the intermedial relations between literature and music: Albert Gier (1995) , Lech Kolagao (1997) , Werner Wolf (2002) and Andreas Sichelstiel (2004) . The subchapter 1.3. INTERMEDIALITÄT MUSIK-LYRIK (Intermediality music lyricism) focuses on the following questions: what affinity does lyricism have to music, i.e. what does its musicality consist of and does modern lyricism have a specific musicality. Irene Kumer’s (1987) , Peter Horst Neumann’s (1988) and Albert Gier’s (1995) studies are brought in the clarification of the above mentioned questions. The subchapter 1.3.1. Verwandtschaftstopoi: Lyrik als Gesang, der Dichter als Sänger im Kontext der modernen Lyrik und Paul Celans Gesang-Motivs includes introductory thoughts to the following extensive part of the paper . The approach promoted by Neumann examines Paul Celan’s use of musical motifs which proves to be a confirmation against the background of modern lyricism but at the same time an exception of an epochal canon. The change of the basic affinity between poetry and music, poet and singer in Modernism marks the background from which this lyricism stands out. The subchapter 1.3.2. Strukturelle Intermedialität: Musikalität des lyrischen Textes (Structural intermediality: musicality of the lyrical text) outlines both arts with their analogies linked to each other and mutual affinity. Here the lyrical-musical feature of this genre is outlined and discussed in a general sense as well as in the context of modernity. The subchapter entitled 1.3.3. Gesanglichkeit und Musikalität der Lyrik in der Moderne examines the different forms of musicality within the main streams of modern lyricism. Based on Peacock’s (1984) researches on the poetic musicality in the context of the French Symbolism, the chapter describes these tendencies along with the musicality which is characteristic for the modern lyricism. Starting from the biographical studies of Wolfgang Israel Chalfen (1979) and Wolfgang Emmerich (1999) , the introductory part of the second chapter analyses the most important biographical contexts in Celan’s life bearing witness to the importance of music. The second chapter 2. DIE ROLLE DES MUSIKALISCHEN IN PAUL CELANS POETIK goes into further correlations between lyricism and music of Modernity, based on poetological texts, text examples and readings of the author. Similarities between Schönberg’s theory of a new music in Adorno’s mediation and Celan’s poetry theory constitute the core of the chapter. In the third part of the paper, according to Jens Finckh’s (2008) theory the systematization of references to musicality is extended by means of concrete examples. According to this classification the research lays emphasis on the followings: The chapter 3.1. MUSIKALISCHE MOTIVIK, relying on the theoretical reflections of the Subchapter 1.3.1. Verwandtschaftstopoi: Lyrik als Gesang, der Dichter als Sänger im Kontext der modernen Lyrik und Paul Celans Gesang-Motivs, aims at the pursue and analysis of the increasing alienation of the tradition-loaded motifs in the author’s oeuvre. Referring to the field of musical motivic, the last part of the Subchapter 3.1. is dedicated to the examination of the instrument names, some of which accompanies the author’s complete work. The poem analyses follow an immanent and inductive methodology examining different functions of the song- and singability motifs. According to the systematisation, which is the core of the present study, the individual reference is secondly analysed, the background of which is described in the first substantial part of the paper. Here the problem of the difference between intermedial and intermedial individual reference rises again, thus the approaches outlined in the Subchapter 1.1.1. Intermediale oder nicht intermediale Bezüge auf Musikalisches? are highlighted with regard to the intermedial individual references. Finckh’s classification in the second part of the Subchapter 3.2. INTERMEDIALE EINZELWERKREFERENZ is extended and proven with examples. According to this, firstly references to works which represent Jewish, German and Romanian folk tradition; secondly references to works with explicitly religious peculiarities (Christian and Jewish religious songs) ; thirdly references to works which represent European middle class classical music , and fourthly references to European political songs (German, Spanish Zionist and Russian revolutionary songs and hymns) are analysed. At the same time Winfried Menninghaus’s (1988) deliberations on the problem of quotation at Celan and in Celan's philology warn about the exclusive and privileged character of the individual references as far as reading and interpretation is concerned. The last part of the research examines Paul Celan’s two poems containing system references: TODEFUGE and ENGFÜHRUNG. Both poems represent striking examples for the third form of reference to musicality, i.e. the category which in Finckh’s view (2008) means the transposition of musical forms to the particular literary text structure and in Rajewsky’s view (2002) means that the media product uses its own media-specific means, in order to refer to a different semiotic system of another medium. The aim of the Subchapter 3.3. INTERMEDIALE SYSTEMREFERENZ is first of all to include both poems in the appropriate subcategory of the intermedial system reference and to subsequently analyse them with regard to their foreign medium imitative construction. To sum up one can say that the focus of the analysis is on the problem of function, i.e. the musical motivic and the role of the intermedial individual- and system references in a particular poem context as well as the additional value being rendered to the poem content. The particular poem analysis offers another kind of reading which in the course of interpretation besides the chosen research corpus considers musical aspects as well.