'In the Distorting Mirror of Musical Parody ' - 'PHILHARMONICA. International Music Journal' - NotaBene.ru
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PHILHARMONICA. International Music Journal
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A.V. Denisov In the Distorting Mirror of Musical Parody

: 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.


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

Abstract: 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.


Keywords:

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


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