The interaction of character and action in the form analysis of Lutoslawski's late symphonic works helps us to understand the normative features of his large-scale closed forms and to interpret the meaning of unusual features in individual works. Musical Character, 3. Musical Action, 4. The music of Shostakovich demonstrates certain kinds of irony, parody and the grotesque, showing the composer's kinship with literary and theoretical writers of the time, including Tynianov, Sollertinsky and Bakhtin. He is known to have had connections with some of these.
Musical irony is analyzed and found to be indicated by particular markers.
A typology of irony is then illustrated from Shostakovich's music, and to some degree from the music of others. Behind all these new influences, though, the music of his native Hungary and of his countryman Bela Bartok stands out more clearly than in any music Ligeti has composed since he left his homeland in 1956. The Lamento Motif and Ligeti's Late Style 2. No. 6, Automne a Varsovie 4. Concerto for Piano and Orchestra, Second and Third Movements 5.