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Popular music has used parody in a variety of ways. These include parodies of earlier music, for comic or (sometimes) serious effect; parodies of musical and performing styles; and parodies of particular performers. Before the 20th century, popular song frequently borrowed hymn tunes and other church music and substituted secular words.
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 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)
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]
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The first uses of comedy in music can be traced back to the first century in ancient Greece and Rome, where poets and playwrights entertained with puns and wordplay. [9]The origins of comedy play in ancient Greece are first recorded on pottery in the 6th century BCE, on which illustrations of actors dressed as horses, satyrs, and dancers in exaggerated costumes are painted on. [10]
Many use unusual lyrics, subjects, sounds, or instrumentation, and may not even be musical. For example, the 1966 novelty song "They're Coming to Take Me Away, Ha-Haaa!", by Napoleon XIV, has little music and is set to a rhythm tapped out on a snare drum, a tambourine, and the bare sides of the musicians' legs.