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A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.
Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie. Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque. Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.

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English style of burlesque was successfully introduced to New York in the 1840s.

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Sun Ra (born Herman Poole Blount, legal name Le Sony'r Ra; May 22, 1914 - May 30, 1993) was an American jazz composer, bandleader, piano and synthesizer player, and poet known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances. For much of his career, Ra led "The Arkestra", an ensemble with an ever-changing name and flexible line-up. Born and raised in Alabama, Blount eventually became involved in the Chicago jazz scene during the 1940s. He soon abandoned his birth name, taking the name Sun Ra (after Ra, the Egyptian God of the Sun) and developing a complex persona and mythology that would make him a pioneer of Afrofuturism: he claimed he was an alien from Saturn on a mission to preach peace, and throughout his life he consistently denied any ties to his prior identity.
After the move to New York, Sun Ra and company plunged headlong into the experimentalism that they had only hinted at in Chicago. The music was often extremely loud and the Arkestra grew to include multiple drummers and percussionists. In recordings of this era, Ra began to use new technologies--such as extensive use of tape delay--to assemble spatial sound pieces that were far removed from earlier compositions such as Saturn. Recordings and live performances often featured passages for unusual instrumental combinations, and passages of collective playing that incorporated free improvisation. It is often difficult to tell where compositions end and improvisations begin. In this era, Sun Ra began conducting using hand and body gestures. This system inspired cornetist Butch Morris, who later developed his own more highly refined way to conduct improvisers. Though often associated with avant-garde jazz, Sun Ra did not believe his work could be classified as "free music": "I have to make sure that every note, every nuance, is correct... If you want to call it that, spell it p-h-r-e, because ph is a definite article and re is the name of the sun. So I play phre music - music of the sun." Seeking to broaden his compositional possibilities, Sun Ra insisted all band members double on various percussion instruments - predating world music by drawing on various ethnic musical forms - and most saxophonists became multireedists, adding instruments such as flutes, oboes, or clarinets to their arsenals. In this era, Sun Ra was among the first of any musicians to make extensive and pioneering use of synthesizers and other various electronic keyboards; he was given a prototype Minimoog by its inventor, Robert Moog. According to the Bob Moog Foundation: "Sun Ra first met Robert Moog after Downbeat journalist and Sun Ra acquaintance Tam Fiofori arranged for a visit to Moog's factory in Trumansburg in the Fall of 1969....it was during this visit that Moog loaned Sun Ra a prototype Minimoog (Model B), several months before the commercial instrument (Model D) was introduced in March 1970. Ra immediately added the instrument to his repertoire of keyboards, later acquired a second, and featured the Minimoog prominently on many of his recordings of the early 1970s." Notable titles from this period include The Magic City, Cosmic Tones for Mental Therapy, When Sun Comes Out, The Heliocentric Worlds of Sun Ra, Volume One, Atlantis, Secrets of the Sun and Other Planes of There.

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Though often associated with avant-garde jazz, Sun Ra did not believe his work could be classified as "free music":