In the musical culture of the second half of the twentieth century, the penetration of foreign text, which takes place throughout the history of music, acquires a special meaning. It becomes one of the techniques of composition, the principle of the organization of the text, giving originality to the work. The issues of the plot, the transformation of sound streams into concrete or non-specific images determined by intuition, are pushed into the background, while the main goal of the intellect becomes the formation of form and the choice of expressive means. The aesthetics of postmodernism makes it possible for composers to use musical signs of the past in the body of their own opuses. Their introduction, juxtaposition becomes a vivid expressive and compositional means and is interpreted from the point of view of aesthetic trends of postmodernism. The works for guitar in which similar features take place are considered. Examples of borrowing text from the works of composers of Baroque, classicism, romanticism, adaptation of film music and subculture are given. It is revealed that postmodern culture, as a result of such integration, gets the opportunity to appropriate the energy resources of the epochs and genres to which it refers. In turn, the longknown musical material receives a new interpretation within the framework of modernity.