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Esti Sheinberg, Irony, Satire, Parody and the Grotesque in the Music of Shostakovich

Esti Sheinberg, Irony, Satire, Parody and the Grotesque in the Music of Shostakovich Music Analysis, 23/ii±iii (2004) 403 ß Blackwell Publishing Ltd. 2005. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 2DQ, UK CRITICAL FORUM of certain musical incongruities can be held to correlate `exactly' with certain structures of semantic or expressive ambiguity ± for instance, not only irony, but also parody, satire and the grotesque. Her interpretative method then proceeds to amplify the information obtained from this structural hypothesis by drawing on data accumulated from various historical, biographical and cultural frames of reference. In the first instance, however, the author finds it necessary to distinguish irony from mere metaphor, the former being denoted by a structural negation, an inherent conflict within a given cultural unit. As an example, she cites Hatten's analysis of the statement `John is a tiger'.3 If John is an aggressive person, then the statement is a metaphor that connects John with the aggressive qualities of a tiger. Alternatively, if John is not aggressive, then the sentence contains a negation, a seeming paradox; it is then more likely to be ironic than merely metaphorical. The structural negation that exemplifies irony can lie within the message itself, or between the message and its context. Yet since such http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Esti Sheinberg, Irony, Satire, Parody and the Grotesque in the Music of Shostakovich

Kuhn, Judith
Music Analysis , Volume 23 (2‐3) – Jul 1, 2004
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Wiley
Copyright
Copyright © 2004 Wiley Subscription Services, Inc., A Wiley Company
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/j.0262-5245.2004.00213.x
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Abstract

Music Analysis, 23/ii±iii (2004) 403 ß Blackwell Publishing Ltd. 2005. Published by Blackwell Publishing, 9600 Garsington Road, Oxford OX4 2DQ, UK CRITICAL FORUM of certain musical incongruities can be held to correlate `exactly' with certain structures of semantic or expressive ambiguity ± for instance, not only irony, but also parody, satire and the grotesque. Her interpretative method then proceeds to amplify the information obtained from this structural hypothesis by drawing on data accumulated from various historical, biographical and cultural frames of reference. In the first instance, however, the author finds it necessary to distinguish irony from mere metaphor, the former being denoted by a structural negation, an inherent conflict within a given cultural unit. As an example, she cites Hatten's analysis of the statement `John is a tiger'.3 If John is an aggressive person, then the statement is a metaphor that connects John with the aggressive qualities of a tiger. Alternatively, if John is not aggressive, then the sentence contains a negation, a seeming paradox; it is then more likely to be ironic than merely metaphorical. The structural negation that exemplifies irony can lie within the message itself, or between the message and its context. Yet since such

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Music Analysis – Wiley

Published: Jul 1, 2004

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