Search results
Results From The WOW.Com Content Network
Examples of musical parody with completely serious intent include parody masses in the 16th century, and, in the 20th century, the use of folk tunes in popular song, and neo-classical works written for the concert hall, drawing on earlier styles. "Parody" in this serious sense continues to be a term in musicological use, existing alongside the ...
The quodlibet took on additional functions between the beginning and middle of the 19th century, when it became known as the potpourri and the musical switch.In these forms, the quodlibet would often feature anywhere from six to fifty or more consecutive "quotations"; the distinct incongruity between words and music served as a potent source of parody and entertainment. [4]
Silence! The Musical; Simpsoncalifragilisticexpiala(Annoyed Grunt)cious; South Park: Bigger, Longer & Uncut; Spamilton; Spank! The Fifty Shades Parody; Stars Over 45; Steamroller Blues; The Stoned Guest; Stutter Rap (No Sleep til Bedtime)
The original use of the term "parody" in music referred to re-use for wholly serious purposes of existing music. In popular music that sense of "parody" is still applicable to the use of folk music in the serious songs of such writers as Bob Dylan, but in general, "parody" in popular music refers to the humorous distortion of musical ideas or lyrics or general style of music.
The accordion appeared in popular music from the 1900s-1960s. This half century is often called the "Golden Age of the Accordion." This half century is often called the "Golden Age of the Accordion." Three players: Pietro Frosini , and the two brothers Count Guido Deiro and Pietro Deiro were major influences at this time.
Main page; Contents; Current events; Random article; About Wikipedia; Contact us; Pages for logged out editors learn more
In the sense considered here, the term parody mass applies to masses where a polyphonic fragment from another work is used as the basis of a new composition. The term imitation mass has been suggested instead of parody mass, as being both more precise and closer to the original usage, since the term parody is based on a misreading of a late 16th-century text. [1]
The Descriptions automatiques inaugurated Satie's use of evocative fragments of popular music as an important element of his mature compositional style. A possible trigger for this development was the 1912 publication of his Pièces froides, [10] composed 15 years earlier, which would have reacquainted him with his first, isolated attempt at purely musical parody.