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.
Incongruities as indicators of irony
The structure of satire
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aesthetic alienation ambiguity analysis appears artistic Bakhtin banal bars bass caricature Chagall Chapter characteristic chord comic commedia dell'arte context cultural unit dance device discourse distortion Dmitri Shostakovich Dostoevsky ethical exaggeration example existential existential irony expression folk music formalists function gesture Gnesin Gogol grotesque harmonic Hatten heteroglossia human Hutcheon ibid ideas imitation incongruity infinite interpretation ironic irony Jewish Folk Poetry Jewish music Kierkegaard kind of irony Kustodiev Lady Macbeth layers Lebyadkin literary literature London ludicrous Mahler's markedness meaning melodic Meyerhold mode Moscow motif musical correlations Nose opera parody perceived Phrygian mode Piano play prelude purport quotation Rayok regarded repetition rhythmic Russian Russian formalists satirical scene Scherzo semantic semiotic Serapion Brothers set of norms Shklovsky Shostakovich Shostakovich's music Sollertinsky song Soviet structure style stylistic stylization Symphony techniques theatre theme Theory Tinyanov tion tonal traditional trans translation triple metre University Press Violin Volkov waltz Wozzeck writings он