Читать статью 'In the Distorting Mirror of Musical Parody ' в журнале PHILHARMONICA. International Music Journal на сайте nbpublish.com
Рус Eng Перевести страницу на:  
Please select your language to translate the article

You can just close the window to don't translate
ваш профиль

A.V. Denisov In the Distorting Mirror of Musical Parody

Опубликовано в журнале "PHILHARMONICA. International Music Journal" в № 1 за 2014 год в рубрике "Музыкальная форма" на страницах 42-51.

Аннотация: The work purpose – analysis of the organizing principles underlying the musical parody. The main question – to consider the general mechanisms of the parody, the concrete musical means leading to its formation, and also its general functions in musical art.
The basic principle of the parody consists in the structural-semantic inversion of the initial text forming its image overturned in the semantic relation. Parody reconsideration of the original usually occurs at the expense of parallel action of the intra text and intertext relations: a certain mutual coordination of the parody text elements, and also "comparison" of this text with the parodied original.
Thus the concrete embodiment of inversion can be connected, first, with a certain immanent organization of the musical text structure, secondly – with its extra musical semantic sphere (in musical and theatrical works, vocal music). On concrete examples the main receptions of the parody in music – deformation and agglutination - are considered. At last, functions of the musical parody in a historical and cultural context are separately shown. In particular, the principle of parody inversion is opposed to the idealization and mythologization phenomena accompanying each other in development of culture.
Work can be interesting to culturologists, critics, and also everything who is interested in problems of a musical art theory and history.

Ключевые слова: parody, music, inversion, agglutination, deformation, hyperbole, semantics, text, art science, culture

DOI: 10.7256/.2014.1.11731

Эта статья может быть бесплатно загружена в формате PDF для чтения. Обращаем ваше внимание на необходимость соблюдения авторских прав, указания библиографической ссылки на статью при цитировании.

Скачать статью

Bakhtin M. ‘Problems of Dostoevsky’s Poetics’ M.: 1972. 471 P.
Bonfeld M. ‘Parody in Music of Viennese Classical Composers’ // Soviet Music. – 1977, No.5. P. 99-102.
Vinogradov V. ‘Style of Pushkin’. – M.: 1941. 620 P.
Darkevich V. ‘Popular Culture of the Middle Ages: Parody in Literature and the Arts of the IXth-XVIth centuries’– M.: 2004. 328 P.
Zhirmunskiy V. ‘Introduction to Literary Studies’ M., 2009. 464 P.
Tynyanov Y. ‘Dostoevsky and Gogol (Towards a Theory of Parody)’ // Poetics. History of Literature. Cinema. M.: 1977. P. 285-311.
Freidenberg O. ‘The Origin of Parody’ // Proceedings of the University of Tartu: Issue 308: Works on Sign Systems: Issue 6. – Tartu, 1973. P. 490-497.
Grellman H. ‘Parodie’ // Merker P., Stammler W. ‘Reallexikon der deutschen Literaturgeschichte’ – Berlin, 1926-27, Bd.2.
Parodies: An Anthology from Chaucer to Beerbohm – N.Y.: 1960. 574 Р.
Sheinberg E. ‘Irony, satire, parody and the grotesque in the music of Shostakovich: a theory of musical incongruities’ – 2000.

Правильная ссылка на статью:
просто выделите текст ссылки и скопируйте в буфер обмена