Към дефинирането на музикалната пародия: постмодерни ракурси
Defining Musical Parody: Postmodern Aspects

Summary/Abstract: “The god of parody, if there were one, would have to be Janus, with his two heads facing in two directions at once… Increasingly though, I find myself invoking Hermes, the mediating messenger god, with his winged sandals and paradoxically plural functions…“ (Hutcheon 2000: xvii). How does this statement, which clearly develops the influential Bakhtin’s concept of the ‘double-voiced word’, informs the non-verbal realm of musical parody in modern world, especially if we still tend to consider the understanding according to which music itself does not represent anything (Hanslik)? How, on the other hand, to think about the ubiquitous replay of that déjà vu sensation which inhabits the inverted world of parody, taken nowadays quite often not so much as an expression of selfreflexivity but as a rather parasitic form in popular culture? Is it still a sign that points at declining of individuality and originality in art? Or is it, indeed, a creative approach which might bring particular critical perspectives of given stylistic and value affections of today’s people, tempted not so much by the didactics of one-sided artistic messages, but rather by the metaphorical potential of the playful, roundabout, slippery, and multi-layered ‘second meaning’? By trying to explore such issues, the article aims at defining the musical parody in the postmodern condition, seen through the critical concepts of the ‘double-voiced word’, dialogism, intertextuality, perception and the interpretative strategies.

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