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Books on the topic 'Irony in Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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

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2

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

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3

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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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Stenning, Paul. Iron Maiden: 30 Years of the Beast. Chicago: Chrome Dreams, 2009.

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12

Yu, Mu-yŏl. Nongak: Iron, silgi ŭi kiljabi. Sŏul Tʻŭkpyŏlsi: Minjok Munhwa Munʼgo Kanhaenghoe, 1986.

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13

Man-su, Yi. Yŏngyua ŭmak kyoyuk ŭi iron kwa silche. Sŏul-si: P'aran Maŭm, 2014.

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14

Yi, Sun-hwa. Adong ŭmak ch'iryo ŭi iron kwa silche. Sŏul-si: Hanjin, 2010.

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15

Ashini︠a︡nt︠s︡, Robert Aramovich. Sladkoe bremi︠a︡: Zhiznʹ i tvorchestvo kompozitora Iriny Manuki︠a︡n. Moskva: Kompozitor, 2007.

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16

1935-, Odell Scott, ed. The metallurgy of 17th- and 18th- century music wire. Stuyvesant, NY: Pendragon Press, 1987.

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17

Kim, Chun-gyu. Myŏng kayo chʻangjak iron. Chosŏn, Pʻyŏngyang: Sahoe Kwahak Chʻulpʻansa, 1987.

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18

author, Mun Kyŏng-suk, and Sŏk Mun-ju author, eds. Ŭmak suŏp mohyŏng ŭi iron kwa silche: Models of music instruction. Kyŏnggi-do P'aju-si: Kyoyuk Kwahaksa, 2017.

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19

Chŏng, Song-ja. Kyosa wa hamkke hanŭn yua kugak nori ŭi iron kwa silche. Sŏul-si: Ch'angjisa, 2015.

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20

Kwak, Hyŏn-gyu. Ŭmak kich'o iron: Almyŏn ŭmak i tŭllinda : yŏnsŭp munje wa haedap. [Korea]: Dream Music, 2015.

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21

Kim, Johnson. If yuh iron good you is king: The pan pioneers. Port of Spain, Trinidad and Tobago: Pan Trinbago, 2006.

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22

Patrick, Roberts. Iron love: A book of the Desperadoes Steel Orchestra. Trinidad and Tobago]: Patrick Roberts, 2021.

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23

Music Sheet - Oh, the Irony Iron Ironic Punny Joke Fun Dad. Independently Published, 2021.

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24

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

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25

Zank, Stephen. Irony and Sound: The Music of Maurice Ravel. University of Rochester Press, 2009.

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26

This Is the Sound of Irony: Music, Politics and Popular Culture. Taylor & Francis Group, 2016.

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27

This Is the Sound of Irony: Music Politics and Popular Culture. Taylor & Francis Group, 2016.

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28

Turner, Katherine L. This Is the Sound of Irony: Music Politics and Popular Culture. Taylor & Francis Group, 2020.

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29

This Is the Sound of Irony: Music, Politics and Popular Culture. Taylor & Francis Group, 2016.

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30

Irony, Satire, Parody and the Grotesque in the Music of Dmitrii SHostakovich. Ashgate Publishing, 2001.

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31

Kompositionen mit doppeltem Boden: Musikalische Ironie bei Erik Satie und Dmitri Schostakowitsch. Schliengen: Edition Argus, 2014.

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32

Irony, Satire, Parody and the Grotesque in the Music of Shostakovich: A Theory of Musical Incongruities. Taylor & Francis Group, 2017.

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33

Sheinberg, Esti. Irony, Satire, Parody and the Grotesque in the Music of Shostakovich: A Theory of Musical Incongruities. Taylor & Francis Group, 2016.

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34

Irony, Satire, Parody and the Grotesque in the Music of Shostakovich: A Theory of Musical Incongruities. Taylor & Francis Group, 2017.

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35

Cherlin, Michael. Varieties of Musical Irony: From Mozart to Mahler. Cambridge University Press, 2019.

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36

Cherlin, Michael. Varieties of Musical Irony: From Mozart to Mahler. Cambridge University Press, 2017.

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37

Cherlin, Michael. Varieties of Musical Irony: From Mozart to Mahler. Cambridge University Press, 2017.

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38

Burton, Justin Adams. Sonic Blackness and the Illegibility of Trap Irony. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190235451.003.0004.

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In contrast to Kendrick, trap music seems to exist in an entirely apolitical realm. Trap, a subgenre of rap originating in Atlanta and circulating especially through the US South, glorifies drug trafficking and sounds black in a post-race society that values diversity, not black solidarity. Building on the idea of sonic blackness as theorized by Nina Sun Eidsheim and Loren Kajikawa, I listen closely to the aesthetics of trap and its evolution from TI’s Trap Muzik (2003) to Desiigner’s “Panda” (2015) to consider how trap sounds black and how this sonic blackness produces an ironic politics that exists out of earshot of the mainstream.

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39

Beal, Amy C. The Lone Arranger. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036361.003.0009.

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This chapter explores Bley's use of humor in her music. Through her long career, Bley has used satire, parody, irony, slapstick, and pure silliness, often to draw attention to the traditional treatment of certain musical and social conventions. Bley's embrace of hilarity by no means indicates music of diminished or superficial quality. On the contrary, her strategic use of humor adds a layer of information that enhances the meaning of the music as a whole. It also frequently intersects with political or politicized themes, especially in her ongoing compositional and orchestration work for Charlie Haden's Liberation Music Orchestra, which has produced four records with overtly political intentions since 1969.

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40

Hunter, Mary. Topics and Opera Buffa. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.003.

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Opera buffa is cited as the source for the topical variety of classical style instrumental music. It is also cited as a topic within instrumental music. This essay argues, with examples from works by Haydn, Mozart, Galuppi, Cimarosa, and Martín y Soler, that musical devices of opera buffa were not on the whole exported to instrumental music but rather were translated to the subtler and more refined instrumental idiom. When opera buffa is identified as a topic in instrumental music, it is more often the presumed gestural world of the comic stage that is evoked than the actual musical devices most characteristic of the genre. And when we study topics in opera—either buffa or seria—it is worth taking into account that they have the capacity not only redundantly to confirm verbal and visual cues, but also to complicate them by suggesting irony or parody, among other things.

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41

Pérez-Sobrino, Paula. Cognitive Modeling and Musical Creativity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190457747.003.0006.

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This chapter provides a preliminary account of different figurative operations in twelve examples of program classical and contemporary music involving music and text. The main goals are to explore the directionality and scope of the mappings between language and music and to investigate the communicative effects of each operation in a musical work. Metonymy, metaphor, hyperbole, paradox, and irony are compared and contrasted to highlight the dynamism and flexibility of conceptual mechanisms to account for meaning construction in multimodal contexts. Although all these conceptual tools consist of putting in correspondence two entities, there are differences that allow us to draw boundaries among them. The main advantage of adopting a view based on figurative operations is that they overcome the two-domain layout of metaphors while counting on a limited inferential capacity that allows the prediction of possible communicative effects.

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42

Schneider, Mathieu. ‘Pedester ist der Musikstoff, sublim der Vortrag’. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199316090.003.0004.

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Mahler developed the scherzo throughout his symphonic output, starting with a Beethovenian approach to the genre in his First Symphony and culminating in a highly original conception with his Ninth. The scherzo was one of the most appropriate genres for experimenting with new approaches to musical form, since it offered formal freedom and was based on dance-like and popular motives and rhythms. Irony has been a part of the scherzo since its beginnings, playing an important role in the deconstruction of musical material and form in Mahler’s music. Innovations in rhythm, the use of hypermetres, and the orchestration in the scherzos of the First and the Ninth symphonies are analyzed here, highlighting the increasing discrepancy between the kitsch of the musical material and the music on which it is constructed. Mahler offered in his scherzos new perspectives for the twentieth and the twenty-first centuries.

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43

Iron Maiden Vault. Carlton Books, Limited, 2016.

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44

Maiden, Iron. Iron Maiden Anthology. Leonard Corporation, Hal, 2006.

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45

Music of the Night, Music Box: Brass, Glass, Paper, Iron. Enesco, 1999.

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46

Levy, Benjamin R. Fluxus and the Absurd (1961–62). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199381999.003.0005.

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After John Cage’s 1958 Darmstadt lectures, many European composers developed an interest in absurdity and artistic provocation. Although Ligeti’s fascination with Cage and his association with the Fluxus group was brief, the impact it had on his composition was palpable and lasting. A set of conceptual works, The Future of Music, Trois Bagatelles, and Poème symphonique for one hundred metronomes, fall clearly into the Fluxus model, even as the last has taken on a second life as a serious work. This spirit, however, can also be seen in the self-satire of Fragment and the drama and irony of Volumina, Aventures, and Nouvelles Aventures. The sketches for Aventures not only show the composer channeling this humor into a major work but also prove to be a fascinating repository of ideas that Ligeti would reuse in the years to come.

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47

Best Of Iron Wine. Cherry Lane Music Company, 2011.

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48

Robert Musil: Essayismus und Ironie. Tübingen: Francke, 1992.

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49

Howland, John. Hearing Luxe Pop. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0009.

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This chapter examines the concept of the “luxe pop” production practices and their evolution over the last several decades. It traces the connection between modern luxe pop, 1970s symphonic soul, and 1920s symphonic jazz. Each case features the timbre of a lush string orchestra as a stand-in for highbrow or elevated culture, while the overlaid genres of jazz, soul, and hip-hop function as a symbol of lowbrow culture. This juxtaposition of black/white, lowbrow/highbrow, street/luxury functions as musical irony and subversive sarcasm. This chapter traces specifically the connection between Jay-Z’s symphonic hip-hop production “Can I Live,” which samples Isaac Hayes’s cover of Burt Bacharach’s “The Look of Love,” a recording that was featured in the movie Casino Royale (1967). Pop music’s tendency to borrow samples from its own history (“retromania”) leads to an interconnected web of artists spanning decades of popular music.

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50

Maiden, Iron. Iron Maiden: Bass Play-Along Volume 57. Leonard Corporation, Hal, 2019.

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