Relevant bibliographies by topics / Irony in Music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Irony in Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Irony in Music"

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Steinbeck, Wolfram. "Mendelssohn und die Ironie." Archiv für Musikwissenschaft 75, no. 4 (2018): 278–300. http://dx.doi.org/10.25162/afmw-2018-0014.

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Manuel, Peter. "Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics." Popular Music 14, no. 2 (May 1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.

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Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and blank irony with modernist socio-political protest. Similar eclecticisms can also be found in the musics of some urban migrant subcultures, whose syncretic musics, like their senses of social identity, often self-consciously juxtapose or combine ancestral homeland traditions with the most contemporary cosmopolitan styles and attitudes. Interpretations of such musics may call for a particularly nuanced appreciation of the distinct aesthetic modes which may coexist in the same work.
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Järvenpää, Tuomas. "‘The Wisest Man in the East’." Temenos - Nordic Journal for Study of Religion 59, no. 2 (December 19, 2023): 207–29. http://dx.doi.org/10.33356/temenos.122051.

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This article presents an ethnographic analysis of the performance of gospel rap music as part of Evangelical Christian youthwork in Finland. The article is based on my observations of six onsite and five online events that featured gospel rap music in their line-up, as well as interviews with nine musicians and three event organizers. I address the relationship between the aesthetics of gospel rap music and the emotional regimes of Finnish Evangelical Christianity. I define ‘emotional regimes’ here as cultural, social, and material practices that set normative rules for the expression of collective emotions. I conclude that light-hearted humour and irony are prevalent emotional moods in these Christian rap performances in Finland. The article shows how the emotional sequencing around gospel rap music at these Christian events conforms with the general individualistic and therapeutic emotional cultures of late modern societies. Yet I show how some gospel rappers are also self-critical of this individualism and the spectacular nature of these music events and use self-irony and parody as social commentary tools in their performances. Irony in gospel rap performances also opens opportunities for theological innovations and a reflection of social differences.
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Krämer, Jörg. "nr="94"Das Unbehagen in der Avantgarde und die Rettung der Oper in der Literatur. Musikästhetik und literarische Poetik in Helmut Kraussers ,,Alles ist gut“ (2015)." Zeitschrift für Germanistik 31, no. 2 (January 1, 2021): 94–109. http://dx.doi.org/10.3726/92169_94.

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Abstract Im literarischen Schaffen von Helmut Krausser spielt Musik aller Art eine besondere Rolle. In seinem Roman Alles ist gut (2015) ist sie Darstellungsgegenstand, poetisches Vorbild, mediale Rivalin und letztlich Geburtshelferin der Literatur. Der Roman entsteht aus der Auseinandersetzung mit den poetischen, strukturellen und wirkungsästhetischen Möglichkeiten der Nachbarkunst und fügt überbietend seine eigenen Möglichkeiten hinzu (Satire, Ironie, Polemik, Selbstreflexivität, Diskursivität).Music of all kinds has a special significance for the literary work of Helmut Krausser. In his novel Alles ist gut (2015), music is subject of depiction, poetic model, media rival, and ultimately the birthplace of literature. The novel arises from the reflection of the poetic, structural, and aesthetic possibilities of music and adds its own possibilities (satire, irony, polemics, self-reflection, discursivity) in an outdoing manner.
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Dunn, Lawrence. "London Contemporary Music Festival." Tempo 72, no. 285 (June 19, 2018): 86–91. http://dx.doi.org/10.1017/s0040298218000177.

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Does intimacy have anything to do with music? Music – especially acoustic chamber music – is regularly, even unthinkingly, labelled intimate. The implications of this common-enough usage were the major preoccupation of the most recent London Contemporary Music Festival. With multiple images and varieties of intimacy foregrounded – bodily, sexual, aural, psychological, somnolent – Igor Toronyi Lalic's curation was masterful. By turns provocative, baffling, emotional and ear-averting, not without some irony, the concerts were held in a vast underground concrete room.
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BIDDLE, IAN. "Vox Electronica: Nostalgia, Irony and Cyborgian Vocalities in Kraftwerk’s Radioaktivität and Autobahn." Twentieth-Century Music 1, no. 1 (March 2004): 81–100. http://dx.doi.org/10.1017/s1478572204000076.

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This paper takes a close look at the music of Kraftwerk, perhaps the best known of the ‘electronic’ groups of former West Germany’s so-called neue Welle, in order to raise some fundamental questions about the politics of elektronische Musik before the dawn of the digital age and, in particular, how constructions and performances of the voice in late analogue technology rehearse new and critical strategies of resistance in the aftermath of 1968.It is a commonplace of recent cultural-theoretical considerations of digital technology to ascribe to it a fundamental re-positioning of imaginations of the subject, of authorship and of agency in the broadest sense. What has never really been fully worked through in this (usually utopian) figuration of digital technology is the extent to which technology can be conceived as ‘autonomous’ (as Rosie Braidotti would have it) or whether new technologies in themselves are a guarantor of new cultural formations. In particular, this paper seeks to test the extent to which Kraftwerk’s pre-digital imagination can be read as an expression of the politics of the so-called Tendenzwende (a ‘turning inwards’ from explicitly activist politics to a more diffuse politics of the personal) of the Schmidt- and early Kohlzeit. The article looks in particular at Kraftwerk’s use of what might be termed the ‘electronic sublime’ as a way of disengaging the music from the ego-centred practices of earlier German rock music and as a way of anticipating new German subject positions and political identities in the light of de-industrialization and globalization.
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SAWYER, J. E. "IRONY AND BORROWING IN HANDEL'S 'AGRIPPINA'." Music and Letters 80, no. 4 (November 1, 1999): 531–59. http://dx.doi.org/10.1093/ml/80.4.531.

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Ritchey, Marianna. "Comic Irony in Harold en Italie." Journal of Musicology 36, no. 1 (January 1, 2019): 68–95. http://dx.doi.org/10.1525/jm.2019.36.1.68.

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Berlioz’s Harold en Italie (1834) is a strange, ambiguously programmatic symphony that refers explicitly to both Beethoven and Byron—two of the lions of Romantic heroism—in ways that are not always straightforward. I argue that Berlioz’s evocation of Romantic heroism is an ironic commentary on the impossibility of artistic freedom in bourgeois society. I also identify a new literary connection to the symphony: the comically ironic short stories and journalism written by Berlioz’s friend Théophile Gautier. Many have argued that both the Byronic archetype and the nineteenth-century symphony became vehicles for exploring the high ideal of Romantic heroism. Hearing Harold as humorously ironic enables insights into Berlioz’s experience of his cultural moment and alternative readings of the impact of Byronic and Beethovenian heroism on subsequent generations of artists, while also opening possibilities for exploring narrative as a hermeneutic for musical analysis.
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Khrushcheva, Nastasia Alekseevna. "Simeon Ten Holt's Canto ostinato as a manifesto of the musical Metamodern." PHILHARMONICA. International Music Journal, no. 5 (May 2022): 10–18. http://dx.doi.org/10.7256/2453-613x.2022.5.33593.

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The object of research in the article is the cult music of Simeon ten Holt Canto ostinato (1976-79), which is considered using the optics of metamodernism. The authors of the concept of metamodernism were the Dutch Timotheus Vermeulen and Robin van den Acker, who created the manifesto of metamodernism (2010), another manifesto was subsequently created by the Briton Luke Turner (2011). This music, as well as the whole concept of metamodernism in music, represents one of the concepts of culture-after-postmodernism and proclaims the return of affect, semantic oscillation as a constant oscillation between direct utterance and irony, a new actualization of the meta-narratives devalued by postmodernism, which replaced postmodern total irony with post-irony. The novelty of the stated perspective is that for the first time in Simeon ten Holt's opus "Canto ostinato" such tendencies of musical metamodernism as new simplicity, the return of melody and tonality, the actualization of song and dance, the flickering affect of melancholy and euphoria, the purpose for the listener of a new type and the features of "sentimental minimalism" are revealed. Despite the fact that this music was created long before the Fourth Industrial Revolution, which became the cause of metamodernism, one can see such obvious features of metamodernism in it that one would like to see in this opus a manifesto of the musical metamodern looking into the future.
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Kim, Sungeun. "Irony Expression Techniques in the Genre of Black Comedy Films: Focused on Netflix Films <Don’t look up>." Korean Society of Culture and Convergence 44, no. 9 (September 30, 2022): 831–40. http://dx.doi.org/10.33645/cnc.2022.9.44.9.831.

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This study researched the irony expression technique used in the genre of black comedy film <Don’t look up> released in 2021 on Netflix. Black comedy is a genre that has the purpose of criticism, and proper delivery of this critical viewpoint through films is critical in this genre. To expose the theme, a film <Don’t Look Up> makes full use of ironic expressions. The comical effect of these expressions maintain the light atmosphere of this film, while emphasizing the parts to be criticized. A variety of ironic expression techniques in this work are worth analyzing since they are used as devices that can convey its message well. The investigator uses the classification of irony by Lee, Jeonggook, which classifies irony into dramatic irony, plot irony, irony of character, irony of place, irony of music, etc., to analyze the ironic expression techniques used in this film. The purpose of this study is to analyze how the irony occurs and find what effect it has on the narrative which may be helpful of creating scenario.
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Dissertations / Theses on the topic "Irony in Music"

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Sheinberg, Esti. "Irony, satire, parody and the grotesque in the music of D.D. Shostakovich." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/22627.

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The music of Dmitriy Shostakovich has typically been regarded as containing a semantic message, that reflected the political environment in which he composed. Such interpretations inadvertently relegated his works to little more than political propaganda, disregarding not only his artistic skill but the non-political purport of his music. Other studies focused on the music alone, ignoring the multi-dimensional nature of his works. Both approaches neglect an essential point, fundamental to the understanding of the traditional Russian perception of the arts. According to this tradition, an interrelationship between artistic technique and ideological content is the main aesthetic criterion. This study views music as a form that purports semantic content. As such, it correlates with other, mainly visual and verbal, forms of expression and communication. On the basis of this premise, this study investigates the musical manifestation of four semantic modes - irony, satire, parody and the grotesque - all of which are related to the comic. These four modes are analysed as specific cases of the overall semantic structure of ambiguity. Subsequently, a correlative structure of musical ambiguity is drawn. Thus the correlations between the musical, visual and verbal modes of expression are made principally on the basis of structural parallelism. Within the greater semantic web, music has a continuous interrelationship with other cultural units. In order to understand this interrelationship, some understanding of those cultural units is needed. Therefore irony, satire, parody and the grotesque are inspected as philosophical approaches, as creative principles, and as artistic techniques. Special attention is allotted to particulars that are characteristic of the Russian culture. Therefore, musical examples that correlate with the above modes and their techniques are analysed on the basis of their cultural associations and characteristics. These analyses are then compared with parallel examples from the works of Dmitriy Shostakovich, thus clarifying some former unacknowledged compositional techniques and characteristics of his music.
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Plazak, Joseph Stephen. "An empirical investigation of a sarcastic tone of voice in instrumental music." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306897682.

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Naumann, James A. "Structuring the Infinite: Irony and Multivalency in Robert Schumann’s Humoreske, Op. 20." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338400324.

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Clavere, Javier. "Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.

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Flinn, John W. "Reconstructive Postmodernism, Quotation, and Musical Analysis: A Methodology with Reference to the Third Movement of Luciano Berio's Sinfonia." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322489.

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Beale, Samantha. "Gagging for it : irony, innuendo and the politics of subversion in women's comic performance on the post-1880 London music-hall stage and its resonance in contemporary practice." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/23853/.

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This thesis focuses on women performing comedy on the London music-hall stage after 1880, examining performers including Bessie Bellwood, Marie Lloyd, Marie Loftus, Maidie Scott, Vesta Victoria and Nellie Wallace. The work of these women as comedy has been neglected in theatre and performance histories, and their influence on the evolution of popular forms and the development of twentieth and twenty-first century comic traditions has received little scholarly attention. I argue that performing comic material offered them unique opportunities to connect directly with popular audiences, resist censorship and to challenge gender stereotypes and common perceptions of and restrictions on women and women’s roles in Britain during the late-nineteenth and early twentieth centuries. As part of their performances they developed comic approaches and techniques that remain identifiable in contemporary comedy, engaging in a range of strategies, from playful and disruptive ironic representations of familiar female types, to deliberately transgressive acts of crossing the line of decency through the embodiment of comic innuendo. Their knowing interpretations of coded references in the written texts of the material performed and jokes shared with their audiences during performances frequently served as ironic socio-political commentary on their lives and experiences. Making use of a range of critical approaches from areas as diverse as performance history and historiography, contemporary approaches to gender and comedy, performance theory, humour theory and feminist literary theory, I engage in analysis of extensive archive material. Throughout the thesis I also draw direct comparisons with the work of women who use comedy in late twentieth and twenty-first century forms, including stand-up comedy and performance art, to demonstrate a continuum of comic practice existing between these female music-hall artists and their counterparts performing comedy today.
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Camargo, Luciano de Freitas. "Chostakóvitch - discurso e ação. Análise e interpretação da sinfonia nº10 Op. 93." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-31052017-105300/.

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Este trabalho apresenta uma reflexão sobre a música do compositor soviético Dmítri Chostakóvitch baseada na análise da Sinfonia nº 10 op. 93. Concluída logo após a morte de Jôsef Stálin, a obra carrega notáveis marcas de seu tempo e sua leitura demanda um cuidadoso estudo das questões relativas à significação musical, em especial uma discussão do conceito de ironia aplicado à música em suas mais diversas manifestações, desde a construção de estruturas musicais expressivas até a disposição de elementos singulares, que requerem uma leitura semiótica. Esta abordagem alinha-se com a perspectiva discursiva que relaciona ironia, intertextualidade e interdiscursividade: o cruzamento de vozes e a confluência de discursos, que constituem elementos fundamentais do conceito de polifonia proposto por Mikhaíl Bakhtín, são identificados aqui como uma chave de leitura capaz de evidenciar, também na música, a ironia como elemento estruturante. A análise da Sinfonia nº 10 a partir dessa perspectiva dá fundamento a novas hipóteses interpretativas e estéticas sobre a obra de Chostakóvitch, evidenciando no texto musical as contradições que surgem no desdobramento analítico do discurso sinfônico e confrontando a crítica histórica da música de Chostakóvitch com uma interpretação semiótica baseada na teoria dos tópicos musicais, desenvolvida a partir das propostas de Leonard Ratner.
The purpose of this work is to present a reflection about the music of the Soviet composer Dmitri Shostakovich based on an analysis of the Symphony no. 10 op. 93. Written immediately after Joseph Stalin\'s death, the symphony carries remarkable traces of its time, and the unfolding of its singularities demands a careful study of musical signification\'s issues, specially a discussion about the concept of irony applied to music in its various manifestations, from the expressive construction of musical structures to the disposition of singular elements. This kind of analysis requires a wide theoretical perspective, which includes a semiotic approach. This analysis is thus aligned with the discursive perspective that relates irony, intertextuality and interdiscursivity: the voice-crossing and discourse confluence, which constitute fundamental elements of Mikhail Bakhtin\'s concept of polyphony, are taken as keys to identify irony as a structural element in music as well. The analysis of the Symphony no. 10 from this perspective grounds new interpretative and aesthetic hypotheses about Shostakovich\'s music, by revealing on the musical text the contradictions which emerge at the level of symphonic discourse, and by confronting the historical criticism of Shostakovich\'s music with a semiotic interpretation based on topic theory proposed after Leonard Ratner.
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Doran, Molly Catherine. "The Transformation of Pushkin's Eugene Onegin into Tchaikovsky's Opera." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1338408083.

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Olthof, Derk A. "Gesamtkunstwerk and Other Trifles: Poems." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3009.

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In all their various categories, the arts serve as the dominant subject matter of Gesamtkunstwerk and Other Trifles. The title itself begins with a German word-meld—gesamt (total) + kunstwerk (work of art). Thus a primary aim of these poems is to bring as many elements of art together as possible and to use their various forms (self-portraits, nocturnes, odes, etc.) as metaphorical frameworks that inform abstractions such as regret ("How to Draw Regret"), psychological disorders ("Insomnia Nocturnes") and confusion in how one should feel about living realities as opposed to inanimate objects ("Dead Starling"). Most of the poems that are not related in some way to the arts (other than their inseparable relation to the art of poetry itself) deal with death or some other form of loss. Some of them humorous ("Commencement Speech"), others poignant ("In Places Where We Store Our Deaths"), these poems ironically find their place as the "other trifles" of the work. The purpose of this somewhat irreverent categorization of death and tragedy is to create ironic commentaries on the triviality of humankind's grand designs and accomplishments and to show the many similarities shared by comedy and tragedy alike, a project Tony Hoagland took up in his first book of poems, Sweet Ruin. My aim in writing these poems is to better understand how various art forms relate to each other and how aligning those arts in poetry allows the various genres to be "in conversation" one with another. I hope that readers will come away with a better understanding of how art forms are interconnected, but at the same time, I always aim to construct my poems in such a way that multiple readings can occur.
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Snyder, Mark. "Iron John for Solo Bass & Orchestra." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1070999451.

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Books on the topic "Irony in Music"

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Zank, Stephen. Irony and sound: The music of Maurice Ravel. Rochester, NY: University of Rochester Press, 2009.

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Zank, Stephen. Irony and sound: The music of Maurice Ravel. Rochester, NY: University of Rochester Press, 2009.

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Sheinberg, Esti. Irony, satire, parody, and the grotesque in the music of Shostakovich: A theory of musical incongruities. Aldershot, England: Ashgate, 2000.

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Kraemer, Florian. Entzauberung der Musik: Beethoven, Schumann und die romantische Ironie. München: Wilhelm Fink, 2014.

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Chŏng, Sŏng-jo. Siryong ŭmak iron. Sŏul T'ŭkpyŏlsi: Segwang Ŭmak Ch'ulp'ansa, 2014.

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Hong, Ŭn-ju. Kugak maeil iron kongbu. Sŏul Tʻŭkpyŏlsi: Samho Myujik, 2003.

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Yŏn'guhoe, Ilsin Ŭmak. Sinmyŏng nanŭn kugak iron nori. Sŏul-si: Ilsin Sŏjŏk Ch'ulp'ansa, 2003.

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Song, Mu-gyŏng. Saeropke paeunŭn ŭmak iron. Sŏul-si: Simsŏldang, 2011.

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Yong-ho, Kim. Sanjo ajaeng ŭi iron kwa yŏnju. Sŏul-si: Minsogwŏn, 2015.

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Ch'oe, Rim. Siryong ŭmak iron: A theory of applied music. Sŏul T'ŭkpyŏlsi: Samho ETM, 2003.

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Book chapters on the topic "Irony in Music"

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Timms, Colin. "Words and Music: Incongruity and Irony in Handel." In HÄNDEL-JAHRBUCH, 229–43. Kassel, Germany: Bärenreiter-Verlag, 2022. http://dx.doi.org/10.1007/978-3-7618-7283-3_15.

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Kochetkova, Uliana, Pavel Skrelin, Vera Evdokimova, and Daria Novoselova. "The Speech Corpus for Studying Phonetic Properties of Irony." In Language, Music and Gesture: Informational Crossroads, 203–14. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-3742-1_16.

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Audissino, Emilio, and Chloé Huvet. "Irony, Comic, and Humour: The Comedic Sides of John Williams." In The Palgrave Handbook of Music in Comedy Cinema, 689–706. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33422-1_40.

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Pietilä, Tuulikki. "Play and Irony in the Kwaito Music of Postapartheid South Africa." In The Routledge Companion to Popular Music and Humor, 124–31. New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351266642-18.

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Beale, Sam. "A Comfort and Blessing to Man: Performed Irony and Comic Disruptions of Gender Stereotypes." In The Comedy and Legacy of Music-Hall Women 1880-1920, 111–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47941-1_4.

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Elflein, Dietmar. "Iron and Steel." In Global Metal Music and Culture, 35–49. New York: Routledge, 2016. http://dx.doi.org/10.4324/9781315742816-4.

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Johnson, Julian. "Irony." In Aesthetics of Music, 239–58. Routledge, 2014. http://dx.doi.org/10.4324/9780203136348-12.

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Zemach, Eddy, and Tamara Balter. "The Structure of Irony and How it Functions in Music." In Philosophers on Music, 178–206. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199213344.003.0009.

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Abstract Irony is an aesthetic property, that is, a feature of objects that is necessarily relevant to their aesthetic evaluation. Musicologists hold that many works of music have that property, and we agree. However, contemporary studies of irony in music tend to focus on one kind of irony or on a single composer. Usually, they offer no general semantic theory of irony, showing how music can be ironic. In this paper we present a general theory that shows why there are many kinds of irony and how music displays them, analyzing one example of each musically realizable kind of irony.
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Spilker, Hendrik Storstein. "The irony of virtuality." In Digital Music Distribution, 87–113. Routledge, 2017. http://dx.doi.org/10.4324/9781315561639-6.

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"Prelude #3;, Irony Goes Wilde." In The Pastoral in Charles Griffes's Music, 299–329. Indiana University Press, 2024. http://dx.doi.org/10.2307/jj.15369553.13.

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Conference papers on the topic "Irony in Music"

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György, Tamás, Áron Attila Popp, and Károly Ágoston Bíró. "Supplementary Iron Losses in Asynchronous Machines with External Rotor." In MultiScience - XXIX. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2015. http://dx.doi.org/10.26649/musci.2015.050.

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