The use of irony in music is just beginning to be defined and
critiqued, although it has been used, implied and decried by
composers, performers, listeners and critics for centuries. Irony
in popular music is especially worthy of study because it is
pervasive, even fundamental to the music, the business of making
music and the politics of messaging. Contributors to this
collection address a variety of musical ironies found in the 'notes
themselves,' in the text or subtext, and through performance,
reception and criticism. The chapters explore the linkages between
irony and the comic, the tragic, the remembered, the forgotten, the
co-opted, and the resistant. From the nineteenth to twenty-first
centuries, through America, Europe and Asia, this provocative range
of ironies course through issues of race, religion, class, the
political left and right, country, punk, hip hop, folk, rock, easy
listening, opera and the technologies that make possible our pop
music experience. This interdisciplinary volume creates new
methodologies and applies existing theories of irony to musical
works that have made a cultural or political impact through the use
of this most multifaceted of devices.
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