Signification of Parody and the Grotesque in György Ligeti's<i>Le Grand Macabre</i>

Everett, Yayoi Uno

doi:10.1525/mts.2009.31.1.26

Cited by 15 publications

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“…111–25) cites the literary and artistic influence of grotesque realism in the work of Rabelais (as interpreted by Mikhail Bakhtin) on Ligeti's development of the narrative in the opera, whereas Everett ties the grotesque more closely to the transformation of musical quotations and stylistic references. These musical references contribute to the grotesque trope, which, in accordance with Bakhtin's concept of grotesque realism, resists closure and mirrors the lack of resolution in the opera's narrative (Everett , p. 52). In his study, Bakhtin argues that Rabelais's imagery of the body depicts hybrids of the natural and the artificial to underscore the irresolvable nature of such binary categories.…”

Section: The Unfinished Pastmentioning

confidence: 81%

“…Peter von Seherr‐Thoss's study of the sketches and libretto for the original version (Seherr‐Thoss ) tracks the conception of the opera and gives an indication of the wealth of intertextual references that it contains. Yayoi Uno Everett approaches the opera through an examination of how parodic episodes on a surface level are overridden by the ‘expressive opposition between ludicrousness and horror’ which prevails on a global level (, p. 29). Her analysis, with its roots in semiotics, demonstrates how parody is systematically correlated with these two opposing expressions as it traces the grotesque and existential narratives that are established during the opera.…”

Section: The Unfinished Pastmentioning

confidence: 99%

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RESISTING CLOSURE: THE PASSACAGLIA FINALE FROM GYÖRGY LIGETI'S LE GRAND MACABRE

Edwards¹

2015

Music Analysis

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The Passacaglia finale from György Ligeti's Le Grand Macabre (1974–7, rev. 1996) has been described as a point of stylistic crisis, marking Ligeti's return to more traditional compositional means. Consonances and tonal allusions in the music are regarded as indicative of this retrospective tendency. However, notions of functional hierarchy or even pitch centres do little to explicate the underlying processes that contribute to the sense of perpetual unfurling in the Passacaglia. Contained within the resistance to tonal teleology is a process of differentiation in the pitch material. In this respect, the Passacaglia might be considered a further development in Ligeti's continuing effort to inject process into musical material, albeit with increasing levels of intervallic transparency. I further substantiate this argument by situating the analytical findings in this article in a historical context.

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Section: The Unfinished Pastmentioning

confidence: 81%

Section: The Unfinished Pastmentioning

confidence: 99%

RESISTING CLOSURE: THE PASSACAGLIA FINALE FROM GYÖRGY LIGETI'S LE GRAND MACABRE

Edwards¹

2015

Music Analysis

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“…In the last verse, however, the tone changes to one of sarcasm. Crumb quotes a funeral march from Mahler to invoke the musical grotesque and uses other semiotic techniques to signal that the ultimate meaning of the song is not an expression of heroic triumph but instead a public display of mourning and regret (Edwards 2017;Evere 2009;Meindl 1996;Sheinberg 2000). (2) [1.3] Crumb's ironic se ing of "When Johnny" changes its original meaning and suggests that traditional collective memory of the Civil War no longer holds.…”

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confidence: 99%

War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home”

Shupe

2021

MTO

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This analysis interprets Crumb’s setting of “When Johnny Comes Marching Home” as a musical memorial. I situate this song within larger memorial culture, Civil War memory, and musical memorials to show how it commemorates and criticizes official narratives of the Civil War. While the first three verses present an earnest version of the song that celebrates military power, the fourth quotes Mahler to transform the song into an ironic funeral march. I draw on scholarship on the musical grotesque to show how this grotesque funeral march critiques conventional perceptions of the Civil War, and how Crumb extends this critique to more recent American wars.

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Reading the Musical Surreal through Poulenc's Fifth Relations

Donaldson¹

2020

Twentieth-Century Music

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This article develops a method of understanding concepts from the Parisian Surrealist movement in music using Poulenc's treatment of cadences and fifth relations as a case study. Although music was rejected by the group's figurehead André Breton as ‘the most profoundly confusing’ of all arts, many composers were keenly involved in Surrealist circles. Notably, Poulenc's acquaintance with major figures led him to set much of their literary work. But his engagement with their aesthetic principles extends deep into the musical form. After assessing Poulenc's flirtation with the movement's ideas, I ally William Caplin's codification of the cadence to the Surrealist objet trouvé. Combining Robert Hatten's musical ‘markedness’ and literary theorist Willard Bohn's model of Surrealism in art and literature, I explore how Poulenc's music engages with the Surrealist treatment of objects, automatism, and Apollinaire's ‘fantôme véritable’.

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Signification of Parody and the Grotesque in György Ligeti'sLe Grand Macabre

Cited by 15 publications

References 0 publications

RESISTING CLOSURE: THE PASSACAGLIA FINALE FROM GYÖRGY LIGETI'S LE GRAND MACABRE

RESISTING CLOSURE: THE PASSACAGLIA FINALE FROM GYÖRGY LIGETI'S LE GRAND MACABRE

War and the Musical Grotesque in Crumb’s “When Johnny Comes Marching Home”

Reading the Musical Surreal through Poulenc's Fifth Relations

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