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L’humour en musique n’a pas bonne presse. Labile, futile, anecdotique, il a régulièrement été vilipendé par certains philosophes et compositeurs de la modernité - Schopenhauer, Adorno, Varèse et Boulez en tête - tandis que d’autres, moins nombreux, y voyaient l’essence même de l’art, une légèreté sérieuse (Schlegel, Bergson, Jankélévitch). Après une période de déni, consécutive à la Seconde Guerre mondiale, l’humour musical se manifeste dans un nombre croissant de créations depuis quatre décennies, chez de multiples compositeurs comme Mauricio Kagel, György Ligeti, Luc Ferrari, Luciano Berio, Bruno Maderna, Arvo Pärt, Régis Campo, etc. Tout en établissant une esthétique de l’humour musical, les quatorze articles réunis dans ce volume tentent tout d’abord d’en éclaircir ses principales nuances et de caractériser ses nombreux cousinages, avec le comique, la satire, la parodie, l’ironie. Un deuxième temps est consacré à l’étude du rire musical, développé à travers toutes ses particularités. Sans être toujours attaché à l'humour, il engendre de nombreuses significations secondaires : la peur, la folie, le désespoir. La dernière partie aborde l’esthétique de la satire, qui noue à travers le détournement de citation de riches intertextualités. Y sont également abordé les liens profonds qu’entretiennent l’humour et ses dérivés avec les évolutions de la société post-industrielle.

Humor in music. --- Music --- Philosophy and aesthetics. --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Comedy in music --- Humorous music --- Musical humor --- Parody in music --- Philosophy --- History and criticism --- esthétique --- musique --- humour --- art

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Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis, anticipating Charlie Chaplin's factory worker in Modern Times. Williams also illuminates the use of magic in The Sorcerer, the parody of nautical melodrama in H.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry in Patience, the autoethnography of The Mikado, the role of gender in Trial by Jury, and the theme of illegitimacy in The Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our understanding of creativity in the late nineteenth century.

Opera --- Parody in music. --- Sex role in music. --- Music --- Musical parodies --- Musical parody --- Parody (Music) --- Musical form --- Humor in music --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- History and criticism --- Sullivan, Arthur, --- Gilbert, W. S. --- Gilbert, William Schwenck, --- Bab, --- Tomline, F.,

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Humor in Music --- Humor in muziek --- Humour en musique --- Humor in music. --- Grotesque in music --- Music --- Humour dans la musique --- Grotesque dans la musique --- Sémiotique et musique --- Semiotics. --- Shostakovich, Dmitrii Dmitrievich, --- Humor in music --- -Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Comedy in music --- Humorous music --- Musical humor --- Parody in music --- Semiotics --- History and criticism --- Shostakovich, Dmitrii Dmitrievich --- Grotesque in music. --- -Semiotics --- -Comedy in music --- Art music --- Sémiotique et musique --- Shostakovich, Dmitriĭ Dmitrievich, --- Chostakovitch, D. --- Chostakovitch, Dimitri, --- Chostakovitch, Dmitri, --- Schostakovich, Dmitri Dmitriyevich, --- Schostakovitj, Dmitrij, --- Schostakowisch, Dmitri Dimitriewisch, --- Schostakowitsch, D., --- Schostakowitsch, Dimitri, --- Schostakowitsch, Dmitri, --- Schostakowitsch, Dmitrij, --- Sciostakovic, Dimitri, --- Sciostakovic, Dmitri, --- Sciostakovich, Dmitri, --- Shostakovic, Dmitrij, --- Shostakovich, D. --- Shostakovich, Dimitri, --- Shostakovich, Dmitrij, --- Shostakovich, Dmitry, --- Shostakovitch, Dmitri, --- Sjostakovitj, Dmitri, --- Sjostakovitj, Dmitrij, --- Sjostakovitsj, Dmitri, --- Šostakovič, D. D. --- Šostakovič, D. --- Šostakovič, Dmitrij, --- Šostakovič, Dmitrij Dmitrijevič, --- Šostakovičius, D., --- Šostakovitš, Dmitri, --- Szostakowicz, A., --- Szostakowicz, Dmitri, --- Szostakowicz, Dymitr, --- Шостакович, Дмитрий Дмитриевич, --- שוסטקוביץ׳, דמיטרי, --- Shostakovich, Dmitrïi Dmitrievich --- Humor --- Rusland --- Shostakovich, Dmitriĭ Dmitrievich --- Шостакович, Дмитрий Дмитриевич --- Schostakowisch, Dmitri Dimitriewisch