Abstract
This article formalizes the contexts and procedures by which parody assumes satirical or ironic resonance in musical discourse by drawing on literary perspectives on parody and irony by Linda Hutcheon and Douglas C. Muecke and music-theoretical concepts and applications by Robert Hatten and Esti Sheinberg. 
 Using Hutcheon’s concept of ethos as a point of departure, I develop an 
 interpretive framework for distinguishing the aesthetic motivations that 
 underlie twentieth-century composers’ use of parody. My analysis presents a 
 preliminary set of constructs that models the structure of satire and irony in 
 selected works by Kurt Weill, Peter Maxwell Davies, and Louis Andriessen.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
