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Music in the Words: Musical Form and Counterpoint in the Twentieth Century Novel (Hardback)

Alan Shockley

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ISBN 10: 0754661997 / ISBN 13: 9780754661993
Edité par Taylor Francis Ltd, United Kingdom, 2009
Neuf(s) Etat : New Hardback
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A propos de cet article

Language: English . Brand New Book. There is a strong tradition of literary analyses of the musical artwork. Simply put, all musicology - any writing about music - is an attempt at making analogies between what happens within the world of sound and language itself. This study considers this analogy from the opposite perspective: authors attempting to structure words using musical forms and techniques. It s a viewpoint much more rarely explored, and none of the extant studies of novelists musical techniques have been done by musicians. Can a novel follow the form of a symphony and still succeed as a novel? Can musical counterpoint be mimicked by words on a page? Alan Shockley begins looking for answers by examining music s appeal for novelists, and then explores two brief works, a prose fugue by Douglas Hofstadter, and a short story by Anthony Burgess modeled after a Mozart symphony. Analyses of three large, emblematic attempts at musical writing follow. The much debated Sirens episode of James Joyce s Ulysses, which the author famously likened to a fugue, Burgess largely ignored Napoleon Symphony: A Novel in Four Movements, patterned on Beethoven s Eroica, and Joyce s Finnegans Wake, which Shockley examines as an attempt at composing a fully musicalized language. After these three larger analyses, Shockley discusses two quite recent brief novels, William Gaddis novella Agape Agape and David Markson s This is not a novel, proposing that each of these confounding texts coheres elegantly when viewed as a musically-structured work. From the perspective of a composer, Shockley offers the reader fresh tools for approaching these dense and often daunting texts. N° de réf. du libraire AA69780754661993

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Détails bibliographiques

Titre : Music in the Words: Musical Form and ...

Éditeur : Taylor Francis Ltd, United Kingdom

Date d'édition : 2009

Reliure : Hardback

Etat du livre :New

A propos de ce titre

Synopsis :

There is a strong tradition of literary analyses of the musical artwork. Simply put, all musicology - any writing about music - is an attempt at making analogies between what happens within the world of sound and language itself. This study considers this analogy from the opposite perspective: authors attempting to structure words using musical forms and techniques. It's a viewpoint much more rarely explored, and none of the extant studies of novelists' musical techniques have been done by musicians. Can a novel follow the form of a symphony and still succeed as a novel? Can musical counterpoint be mimicked by words on a page? Alan Shockley begins looking for answers by examining music's appeal for novelists, and then explores two brief works, a prose fugue by Douglas Hofstadter, and a short story by Anthony Burgess modeled after a Mozart symphony. Analyses of three large, emblematic attempts at musical writing follow. The much debated 'Sirens' episode of James Joyce's "Ulysses", which the author famously likened to a fugue, Burgess' largely ignored "Napoleon Symphony: A Novel in Four Movements", patterned on Beethoven's "Eroica", and Joyce's "Finnegans Wake", which Shockley examines as an attempt at composing a fully musicalized language. After these three larger analyses, Shockley discusses two quite recent brief novels, William Gaddis' novella "Agape Agape" and David Markson's "This is not a Novel", proposing that each of these confounding texts coheres elegantly when viewed as a musically-structured work. From the perspective of a composer, Shockley offers the reader fresh tools for approaching these dense and often daunting texts.

A propos de l'auteur:

Composer Alan Shockley is Assistant Professor of Composition and Theory in the Cole Conservatory of Music, at California State University, Long Beach. He has published articles and reviews on contemporary music as well as James Joyce, Anthony Burgess, and other authors. He delights in writing for chamber ensembles, electronics, and the human voice.

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