Irony, Satire, Parody, and the Grotesque in the Music of Shostakovich: A Theory of Musical Incongruities
The music of Shostakovich has been at the centre of interest of both the general public and dedicated scholars throughout the last twenty years. Most of the relevant literature, however, is of a biographical nature. The focus of this book is musical irony. It offers new methodologies for the semiotic analysis of music, and inspects the ironical messages in Shostakovich's music independently of political and biographical bias.
Its approach to music is interdisciplinary, comparing musical devices with the artistic principles and literary analyses of satire, irony, parody and the grotesque. Each one of these is firstly inspected and defined as a separate subject, independent of music. The results of these inspections are subsequently applied to music, firstly music in general and then more specifically to the music of Shostakovich. The composer's cultural and historical milieux are taken into account and, where relevant, inspected and analysed separately before their application to the music.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
Irony, Satire, Parody and the Grotesque in the Music of Shostakovich: A ...
No preview available - 2016
aesthetic ambiguity analysis appears artistic Bakhtin banal bars caricature characteristic Chichikov chord cJioBo comic commedia dell'arte context cultural unit dance device discourse distortion Dostoevsky ethical exaggeration example existential existential irony expression figure formalists fortissimo function galop gesture Gnesin Gogol Gott grotesque harmonic Hatten heteroglossia human Hutcheon ideas imitation incongruity infinite interpretation ironic irony Jewish Folk Poetry Jewish music Jews Kustodiev Lady Macbeth laughter layers Lebyadkin literary ludicrous Mahler's markedness melodic Meyerhold mode motif Mtsensk District musical correlatives musical elements Nose opera parody particularly perceived Phrygian Phrygian mode Piano pitch play plurivocality prelude purport quotation regarded repetition replication rhythmic Russian Russian formalists satirical scene Scherzo Second Piano Trio seems semantic Serapion Brothers set of norms Shklovsky Shostakovich Shostakovich's music Sollertinsky song Soviet structure style stylistic stylization Symphony techniques theatre theme Tinyanov tion tonal traditional triple metre violin Volkov waltz whole-tone scale Wozzeck writings