ABSTRACT
Musical satire is concerned with the assessment of certain phenomena, musical ones or their semantic correlations, against a musical, aesthetic and/or ethical set of norms, and with the implied demand for their rectification. Since stylistic sets of norms often reflect broader – aesthetic and even ethical – sets of norms of a specific culture, the satirization of a musical set of norms may imply the satirization of other sets of norms within the same culture. Thus, using analogies and correlations, music can also satirize ethical and/or aesthetic sets of norms. The atonal musical context of the scene exaggerates its correlational purport of disconnection, thus creating a double incongruity with norms: one with the musical stylistic norms of the medieval hocketus and the other with the non-musical ethical norm of human concern. The satire's target can be either the failure to comply with the musical norms of the specific style or the musical set of norms itself.
