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Abstract Irony is an aesthetic property, that is, a feature of objects that is necessarily relevant to their aesthetic evaluation. Musicologists hold that many works of music have that property, and we agree. However, contemporary studies of irony in music tend to focus on one kind of irony or on a single composer. Usually, they offer no general semantic theory of irony, showing how music can be ironic. In this paper we present a general theory that shows why there are many kinds of irony and how music displays them, analyzing one example of each musically realizable kind of irony.
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