The Musical Novel: Imitation of Musical Structure, Performance, and Reception in Contemporary Fiction (European Studies in North American Literature and Culture) - Softcover
Synopsis
What is a "musical novel"? This book defines the genre as musical not primarily in terms of its content, but in its form. The musical novel crosses medial boundaries, aspiring to techniques, structures, and impressions similar to those of music. It takes The Musical Novel builds upon theories of intermediality and semiotics to analyze the musical structures, forms, and techniques in two groups of musical novels, which serve as case studies. The first group imitates an entire musical genre and consiEmily Petermann is Assistant Professor of American Literature at the University of Konstanz.
"synopsis" may belong to another edition of this title.
Review
(F)urnishe(s) a number of explanations and clarifications, both about the novels in question and the structure of Bach's masterpiece. . . . Petermann explores the unique A-B structure of Variation XVI, the midpoint of Bach's cycle, and relates it to several of the literary works, most notably the Josipovici. . . . Other insights abound . . . . Having spent July immersed in Bach's music, I spent August exploring the first half of Petermann's treatise, devoted to the Jazz Novel. . . . This too has been a very satisfying journey. THE WHOLE NOTE (David Olds) Petermann makes a strong and patient case for a thriving tradition of intermediality, and one - this is what distinguishes her book from earlier passes at the subject - that crucially involves audience expectations and reception as part of the equation: knowing the Goldberg Variations or a particular jazz standard provides a subliminal framework for fictional improvisation which a reader unfamiliar with the music might lack. TIMES LITERARY SUPPLEMENT
(A)n important contribution to the field of word and music studies. . . . Petermann offers a theory of intermediality that standardizes the features of novels that "transpos(e) elements of music." . . . . (E)xpertly crafted . . . . If for no other reason, one should read The Musical Novel to enjoy the author's elegant language --Petermann's prose was music to this reviewer's ears. Highly recommended. CHOICE (F)urnishe(s) a number of explanations and clarifications, both about the novels in question and the structure of Bach's masterpiece. . . . Petermann explores the unique A-B structure of Variation XVI, the midpoint of Bach's cycle, and relates it to several of the literary works, most notably the Josipovici. . . . Other insights abound . . . . Having spent July immersed in Bach's music, I spent August exploring the first half of Petermann's treatise, devoted to the Jazz Novel. . . . This too has been a very satisfying journey. THE WHOLE NOTE (David Olds) Petermann makes a strong and patient case for a thriving tradition of intermediality, and one - this is what distinguishes her book from earlier passes at the subject - that crucially involves audience expectations and reception as part of the equation: knowing the Goldberg Variations or a particular jazz standard provides a subliminal framework for fictional improvisation which a reader unfamiliar with the music might lack. TIMES LITERARY SUPPLEMENT
Selected as a CHOICE Outstanding Academic Title of 2014 (A)n important contribution to the field of word and music studies. . . . Petermann offers a theory of intermediality that standardizes the features of novels that "transpos(e) elements of music." . . . . (E)xpertly crafted . . . . If for no other reason, one should read The Musical Novel to enjoy the author's elegant language --Petermann's prose was music to this reviewer's ears. Highly recommended. CHOICE (F)urnishe(s) a number of explanations and clarifications, both about the novels in question and the structure of Bach's masterpiece. . . . Petermann explores the unique A-B structure of Variation XVI, the midpoint of Bach's cycle, and relates it to several of the literary works, most notably the Josipovici. . . . Other insights abound . . . . Having spent July immersed in Bach's music, I spent August exploring the first half of Petermann's treatise, devoted to the Jazz Novel. . . . This too has been a very satisfying journey. THE WHOLE NOTE (David Olds) Petermann makes a strong and patient case for a thriving tradition of intermediality, and one - this is what distinguishes her book from earlier passes at the subject - that crucially involves audience expectations and reception as part of the equation: knowing the Goldberg Variations or a particular jazz standard provides a subliminal framework for fictional improvisation which a reader unfamiliar with the music might lack. TIMES LITERARY SUPPLEMENT
For the scholar of musical fiction, this book is of great interest. JIVE-TALK Selected as a CHOICE Outstanding Academic Title of 2014 (A)n important contribution to the field of word and music studies. . . . Petermann offers a theory of intermediality that standardizes the features of novels that "transpos(e) elements of music." . . . . (E)xpertly crafted . . . . If for no other reason, one should read The Musical Novel to enjoy the author's elegant language --Petermann's prose was music to this reviewer's ears. Highly recommended. CHOICE (F)urnishe(s) a number of explanations and clarifications, both about the novels in question and the structure of Bach's masterpiece. . . . Petermann explores the unique A-B structure of Variation XVI, the midpoint of Bach's cycle, and relates it to several of the literary works, most notably the Josipovici. . . . Other insights abound . . . . Having spent July immersed in Bach's music, I spent August exploring the first half of Petermann's treatise, devoted to the Jazz Novel. . . . This too has been a very satisfying journey. THE WHOLE NOTE (David Olds) Petermann makes a strong and patient case for a thriving tradition of intermediality, and one - this is what distinguishes her book from earlier passes at the subject - that crucially involves audience expectations and reception as part of the equation: knowing the Goldberg Variations or a particular jazz standard provides a subliminal framework for fictional improvisation which a reader unfamiliar with the music might lack. TIMES LITERARY SUPPLEMENT Petermann's lucid writing style allows for comprehensive definitions and intelligible arguments that are as easy to follow as they are compelling. . . . The musical knowledge that Petermann displays throughout her book is as sound as her literary background: this promotes illuminating insights for readers coming from both worlds. . . . (Her) theory of intermediality is entirely persuasive and plausible, and as such it is highly useful to anybody seeking to expand further the field of word and music studies. Overall, The Musical Novel is a most thoughtful and comprehensive formalist approach to intermediality in general and the musical novel in particular. MUSIC & LETTERS (Christin Hoene)
(O)f significant interest not only to the literary scholar but also to the philosopher of art. . . . Petermann's exploration of th(e) literary subgenre (of the "musical novel"), defined as "musical not primarily in terms of its content, but in its very form" (p.2) invites us to rethink a series of classical problems - the essence of music, boundaries of art forms, musical sense and meaning, the relation between music and language - through the lens of these peculiar textual artworks. UNIVERSA. RECENSIONI DI FILOSOFIA Selected as a CHOICE Outstanding Academic Title of 2014 (A)n important contribution to the field of word and music studies. . . . Petermann offers a theory of intermediality that standardizes the features of novels that "transpos(e) elements of music." . . . . (E)xpertly crafted. . . . If for no other reason, one should read The Musical Novel to enjoy the author's elegant language --Petermann's prose was music to this reviewer's ears. Highly recommended. CHOICE Petermann makes a strong and patient case for a thriving tradition of intermediality, and one - this is what distinguishes her book from earlier passes at the subject - that crucially involves audience expectations and reception as part of the equation: knowing the Goldberg Variations or a particular jazz standard provides a subliminal framework for fictional improvisation which a reader unfamiliar with the music might lack. TIMES LITERARY SUPPLEMENT Petermann's lucid writing style allows for comprehensive definitions and intelligible arguments that are as easy to follow as they are compelling. . . . The musical knowledge that Petermann displays throughout her book is as sound as her literary background: this promotes illuminating insights for readers coming from both worlds. . . . (Her) theory of intermediality is entirely persuasive and plausible, and as such it is highly useful to anybody seeking to expand further the field of word and music studies. Overall, The Musical Novel is a most thoughtful and comprehensive formalist approach to intermediality in general and the musical novel in particular. MUSIC & LETTERS (Christin Hoene)
"About this title" may belong to another edition of this title.
