Abstract

“Perfect Day” by Lou Reed and “Village Ghetto Land” by Stevie Wonder are prime examples of “melic” irony in song—cases in which expressive irony is achieved through the interplay and tension between a song’s lyrics and its musical accompaniment. But how exactly can a song achieve this ironic effect, especially if, as formalists maintain, music on its own is incapable of meaning, much less communicative irony? In this paper, I illuminate this type of irony by applying a Gricean account of verbal irony to song. I explore the complexities of this application, and suggest that, through ironic interplay with lyrics, the music of a song can acquire semantic capacities of its own.