This research aimed to study the evolution of parody music in several forms and contexts, and the aesthetic of parody songs in different eras (during 1952 – 2011). The historical data were elicited from documentary research studies, textual analysis as well as in-depth interviews with specialists, parody singers and listeners. The findings revealed that the parody music era can be divided into 4 periods ; (1)Western Influence Era (1952 – 1977): this era was dominated by Western, especially the U.S, resulted by the wars (2) The pop hits of String Music Era (1978 – 1987): this era was continuously influenced by the Western. String combo and disco music bands enjoyed widespread popularity. (3) Music Industry and Intellectual Property Era (1989 – 2002): in this era, the focus of copyright became significant. More systematic music industry arose and was exploited for business purposes. (4) Current Era (2002 – 2011): this era is a mixture and diversity. Technologies like internet play a bigger role in many social aspects. Nevertheless , the music is presented differently in different periods based on several factors (1) Social and cultural contexts (2) Musical and media contexts (3) Parody artists, and (4) Cultural popularity-based music, which had been continually changing. The rise of the aesthetic of parody music in every era is based on (1) Aesthetic of the song language, which consists of (1.1) Mimic of accent from the original pieces of work, and (1.2) Rhyme and language beauty (2) Aesthetic of parody tastes, including taste of humor and taste of love and (3) Aesthetic from other components of parody music. All these qualities add up extra spices into the original version of music. The aesthetic of parody music in each era ,however, is centered around the mimic of the original pieces of work, which are presented differently in different eras.
