Skip to main content
SpringerLink
Log in

Music Transformation in Literature

  • Living reference work entry
  • First Online:
The Palgrave Handbook of Intermediality

  • 56 Accesses

Abstract

This chapter explores the roles of music in literature and how the representation of musical sounds, forms, and genres transforms literature. The chapter surveys how music transformation is used in different literary contexts. Music transformation does not primarily aspire to transform literature into music. Instead, the intermedial relationship with music transforms literary narration and expression and expands the understanding of what kinds of experiences language and written texts can convey. Elleström’s concept of media transformation highlights how the representation of music and the transmediation of structures and ideas are always interrelated. Intermedial relationships with music appear as a performative tool to reach poetological aims. The transgressive potential of music is used not to explain but to express and perform complex relationships.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Log in via an institution

Institutional subscriptions

References

  • Acquisto, Joseph. 2017. Proust, music, and meaning. Theories and practices of listening in the Recherche. London: Palgrave Macmillan.

    Book  Google Scholar 

  • Albright, Daniel. 2000. Untwisting the serpent: Modernism in music, literature, and other arts. Chicago: University of Chicago Press.

    Google Scholar 

  • Albright, Daniel. 2004. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press.

    Google Scholar 

  • Arvidson, Jens. 2009. “To stich the cut…”: The record sleeve and its intermedial status. In Changing borders. Contemporary positions in intermediality, ed. Jens Arvidson et al., 55–84. Lund: Lund University Press.

    Google Scholar 

  • Bal, Mieke. 2002. Travelling concepts in the humanities: A rough guide. Toronto: University of Toronto Press.

    Google Scholar 

  • Barska, Johanna. 2014. “New story from old words”: Word and music studies and the poetics of experience. In Ideology in words and music, ed. Beate Schirrmacher et al., 31–48.

    Google Scholar 

  • Barthes, Roland. 1970. S/Z. Paris: Seuil.

    Google Scholar 

  • Ben-Horin, Michal. 2016. Musical biographies. The music of memory in post-1945 German literature. Berlin/Boston: De Gruyter.

    Book  Google Scholar 

  • Benson, Stephen. 2006. Literary music: Writing music in contemporary fiction. Aldershot: Ashgate.

    Google Scholar 

  • Borčak, Lea Wierød. 2017. The sound of nonsense: On the function of nonsense words in pop songs. SoundEffects 7: 27–43.

    Article  Google Scholar 

  • Bowen, Zack. 1975. Musical allusions in the works of James Joyce: Early poetry through Ulysses. Dublin: Gill and Macmillan.

    Google Scholar 

  • ———. 1993. Music as comedy in Ulysses. In Picking up airs: Hearing the music in Joyce’s text, ed. Ruth Bauerle, 31–52. Urbana, IL: University of Illinois Press.

    Google Scholar 

  • Breatnach, Mary. 2020. Music in proust. The evolution of an idea. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 533–544. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Brown, Calvin S. 1987 [1948]. Music and literature. A comparison of the arts. Hanover: University Press of New England.

    Google Scholar 

  • Bruhn, Jørgen. 2016. Between punk and PowerPoint: Authenticity versus medialities in Jennifer Egan’s a visit from the goon squad. In The intermediality of narrative literature, ed. Jørgen Bruhn, 103–212. London: Palgrave Macmillan.

    Chapter  Google Scholar 

  • Bruhn, Jørgen, Liviu Lutas, Niklas Salmose, and Beate Schirrmacher. 2021. Media representation. Film, music and painting in literature. In Intermedial studies: An introduction to meaning across media, ed. Jørgen Bruhn and Beate Schirrmacher, 162–193. London: Routledge.

    Chapter  Google Scholar 

  • Bushnell, Cameron F. 2013. Postcolonial readings of music in world literature turning empire on its ear. New York: Routledge.

    Google Scholar 

  • Caers, Vincent. 2022. Umbraphonics. An electro-acoustic performance format for mediating musical scores. KU Leuwen. Luca School of arts: Leuwen.

    Google Scholar 

  • Carroll, Rachel, and Adam Hansen. 2016. Litpop: Writing and popular music. London and New York: Routledge.

    Google Scholar 

  • Chapin, Keith Moore, and Andrew Herrick Clark, eds. 2013. Speaking of music addressing the sonorous. New York: Fordham University Press.

    Google Scholar 

  • Cleghorn, Angus. 2019. Elizabeth Bishop and the music of literature. London: Palgrave Pivot.

    Book  Google Scholar 

  • Clements, Elicia. 2019. Virginia Woolf: Music, sound, language. Toronto: University of Toronto Press.

    Book  Google Scholar 

  • Clüver, Claus. 1999. The Musikgedicht: Notes on an ekphrastic genre. In Defining the field. Proceedings of the first international conference on word and music studies at Graz, 1997, ed. Walter Bernhart, Paul Steven, and Werner Wolf, 187–204. Amsterdam: Rodopi.

    Google Scholar 

  • Crapoulet, Emilie. 2009. Voicing the music in literature. European Journal of English Studies 13: 79–91. https://doi.org/10.1080/13825570802708212.

    Article  Google Scholar 

  • da Sousa Correa, Delia. 2011. Musical performativity in the fiction of Katherine Mansfield. In Word and music studies: Essays on performativity and on surveying the field, ed. Walter Bernhart, 71–86. Amsterdam: Rodopi.

    Google Scholar 

  • ———, ed. 2020. The Edinburgh companion to literature and music. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Dahlhaus, Carl. 1989 [1978]. The idea of absolute music. [Die Idee der absoluten Musik]. Trans. Roger Lustig. Chicago: University of Chicago Press, 1989.

    Google Scholar 

  • Dame, Natalia. 2014. The search for narrative control: Music and female sexuality in Tolstoy’s “Family Happiness” and “The Kreutzer Sonata”. Ulbandus Review 16: 158–176. https://www.jstor.org/stable/24391989.

    Google Scholar 

  • Dautel, Katrin. 2017. The sound of a new generation? Intermedial references to pop music in Judith Hermann’s prose. Forum for Modern Language Studies 53: 163–178. https://doi.org/10.1093/fmls/cqw089.

    Article  Google Scholar 

  • Dayan, Peter. 2006. Music writing literature, from sand via Debussy to Derrida. Aldershot: Ashgate.

    Google Scholar 

  • ———. 2010. Art as music, music as poetry, poetry as art, from Whistler to Stravinsky and beyond. Farnham, Surrey: Ashgate.

    Google Scholar 

  • DeCristo, Jeramy. 2018. Music against the subject. Theory & Event 21: 169-190. muse.jhu.edu/article/685975.

    Google Scholar 

  • Deeming, Helen. 2020. Music and the book: The textualisation of music and the musicalisation of text. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 48–64. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Deutsch, David. 2015. British literature and classical music: Cultural contexts 1870–1945. Historicizing modernism. London: Bloomsbury Academic.

    Google Scholar 

  • Dueck, Byron, and Jason Toynbee, eds. 2011. Migrating music. Culture, economy and the social. London/New York: Routledge.

    Google Scholar 

  • Edgecombe, Rodney S. 1993. Melophrasis: Defining a distinctive genre of literature/music dialogue. Mosaic: A Journal for the Interdisciplinary Study of Literature 26: 1.

    Google Scholar 

  • Elleström, Lars. 2014. Media transformation: The transfer of media characteristics among media. Basingstoke: Palgrave Macmillan.

    Book  Google Scholar 

  • ———. 2021. The modalities of media II: An expanded model for understanding intermedial relations. In Beyond media borders. Intermedial relations among multimodal media, ed. Lars Elleström, 3–91. Basingstoke/New York: Palgrave Macmillan.

    Google Scholar 

  • Englund, Axel. 2012. Still songs: Music in and around the poetry of Paul Celan. Aldershot: Ashgate.

    Google Scholar 

  • Euchner, Maria. 2005. Life, longing, Liebestod: Richard Wagner in Thomas Mann’s “Tristan” and “Tod in Venedig”. The Germanic Review 80: 187–212.

    Article  Google Scholar 

  • Fast, Susan, and Kip Pegley. 2012. Music, politics, and violence. Middletown: Wesleyan University Press.

    Google Scholar 

  • Feinstein, Sascha, and David Rife. 2009. The jazz fiction anthology. Bloomington/Indianapolis: Indiana University Press.

    Google Scholar 

  • Fetzer, John Francis. 1990. Music, love, death, and Mann’s Doctor Faustus. Columbia: Camden House.

    Google Scholar 

  • Fornäs, Johan. 2010. Exclusion, polarization, hybridization, assimilation: Otherness and modernity in the Swedish Jazz Age. Popular Music and Society 33: 219–236.

    Article  Google Scholar 

  • Fraser, Robert. 2018. Literature, music and cosmopolitanism culture as migration. Palgrave Macmillan.

    Book  Google Scholar 

  • Frattarola, Angela. 2018. Modernist soundscapes: Auditory technology and the novel. Gainesville: University Press of Florida.

    Book  Google Scholar 

  • Gauthier, Tim. 2014. Rock music as cosmopolitan touchstone in Salman Rushdie’s The Ground Beneath Her Feet. In Write in tune: Contemporary music in fiction, ed. Erich Hertz and Jeffery Roessner, 155–168. New York: Bloomsbury.

    Google Scholar 

  • Gess, Nicola. 2006. Gewalt der Musik: Literatur und Musikkritik um 1800. Freiburg i. Br: Rombach.

    Google Scholar 

  • Gess, Nicola, and Alexander Honold, eds. 2017. Handbuch Literatur & Musik. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Glotova, Elena. 2021. Soundscapes in Nineteenth-century Gothic Short Stories.

    Google Scholar 

  • Goebel, Ralf J. 2020. The soul of the phonograph: Media-technologies, auditory experience, and literary modernism in the age of COVID-19. Humanities 82: 1–10. https://doi.org/10.3390/h9030082.

    Article  Google Scholar 

  • Grandt, Jürgen E. 2004. Kinds of blue. The Jazz aesthetic in African American narrative. Columbus: Ohio State University Press.

    Google Scholar 

  • Gray, Michael. 2000. Song & dance man III: The art of Bob Dylan. London/New York: Continuum.

    Google Scholar 

  • Griffiths, Dai. 2020. Words in popular songs. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 664–672.

    Chapter  Google Scholar 

  • Halliday, Sam. 2013. Sonic modernity. Representing sound in literature, culture and the arts. Edinburgh: Edinburgh University Press.

    Book  Google Scholar 

  • ———. 2020. “High fidelity”, “added value” and the aesthetics of sound technology in literary modernism. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 655–663. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Hart, Heidi. 2018. Music and the environment in dystopian narrative: Sounding the disaster. Cham: Palgrave Macmillan.

    Book  Google Scholar 

  • Hart, Heidi, and Beate Schirrmacher. 2022. Music, noise, and nature: Energetic ambiguities in Benedikt Erlingsson’s woman at war. Music and the Moving Image 15: 3–19.

    Article  Google Scholar 

  • Have, Iben, and Birgitte Stougaard Pedersen. 2020. Reading audiobooks. In Beyond media borders: Intermedial relations among multimodal media, ed. Lars Elleström, vol. 1, 197–216. Cham: Palgrave Macmillan.

    Google Scholar 

  • Hejmej, Andrzej. 2014. Music in literature. Perspective of interdisciplinary comparative literature. Trans. Lindsay Davidson. Frankfurt am Main: Peter Lang.

    Google Scholar 

  • Hertz, Erich, and Jeffrey Roessner, eds. 2014. Write in tune: Contemporary music in fiction. New York: Bloomsbury.

    Google Scholar 

  • Hindrichs, Gunnar. 2017. Sprache und Musik. In Handbuch Literatur & Musik, ed. Nicola Gess and Alexander Honold, 19–38. Berlin: De Gruyter.

    Google Scholar 

  • Hillebrandt, Claudia. 2017. Lyrik als akustische Kunst. In Handbuch Musik & Literatur, eds. Nicola Gess and Alexander Honold, 338-350. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Hoene, Christin. 2015. Music and identity in postcolonial British South-Asian Literature. New York: Routledge.

    Google Scholar 

  • ———. 2020. Music in contemporary fiction. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 577–587. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Höfer, Hannes. 2017. Jazzmusik in der deutschen Literatur. Ein Beispiel für intertextuelle Steuerung von Intermedialität. Textpraxis 13: 1–24. https://doi.org/10.17879/22259709173.

    Article  Google Scholar 

  • ———. 2018. Jazz als literarisches Symbol der (Unterhaltungs-)Kultur in der Weimarer Republik. The German Quarterly 91: 447–459.

    Article  Google Scholar 

  • Honold, Alexander. 2017. Kontrapunkt. Zur Geschichte musikalischer und literarischer Stimmführung bis in die Gegenwart. In Handbuch Literatur & Musik, ed. Nicola Gess and Alexander Honold, 508–535. Berlin: De Gruyter.

    Google Scholar 

  • Hörner, Fernand. 2017. Rap, orale Dichtung und Flow. In Handbuch Literatur & Musik, ed. Nicola Gess and Alexander Honold, 566–577. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Höying, Peter. 2011. Ambiguities of violence in Beethoven’s Ninth through the eyes of Stanley Kubricks’s A Clockwork Orange. The German Quarterly 84: 159–176. https://www.jstor.org/stable/41237071.

    Article  Google Scholar 

  • Huber, Martin. 1992. Text und Musik. Musikalische Zeichen im narrativen und ideologischen Funktionszusammenhang ausgewählter Erzähltexte des 20. Jahrhunderts. Frankfurt/Main: Lang.

    Google Scholar 

  • Huntingdon, Julie. 2009. Sounding off. Rhythm, music, and identity in West African and Caribbean francophone novels. Philadelphia: Temple University Press.

    Book  Google Scholar 

  • Huxley, Aldous. 1954 [1928]. Point Counter Point. London: Chatto & Windus.

    Google Scholar 

  • Jaji, Tsitsi Ella. 2014. Africa in stereo: Modernism, music, and pan-African solidarity. New York: Oxford University Press.

    Book  Google Scholar 

  • Jeannin, Marc. 2009. Anthony Burgess: Music in literature and literature in music. Newcastle: Cambridge Scholars.

    Google Scholar 

  • Jensen, Signe Kjær, and Martin Knust. 2022. Media and Modalities: Music. In Intermedial Studies: An Introduction to Meaning across Media, eds. Jørgen Bruhn and Beate Schirrmacher, 56–69. London: Routledge.

    Google Scholar 

  • Johnson, Bruce, and Martin Cloonan. 2009. Dark side of the tune. Popular music and violence. Aldershot: Ashgate.

    Google Scholar 

  • Kelley, Joyce E. 2010. Virginia Woolf and music. In Edinburgh companion to Virginia Woolf and the arts, ed. Maggie Humm, 417–428. Edinburgh: Edinburgh University Press.

    Chapter  Google Scholar 

  • Keskinen, Mikko. 2005. Single, long-playing, and compilation: The formats of audio and amorousness in Nick Hornby’s High Fidelity. Critique: Studies in Contemporary Fiction 47: 3–21. https://doi.org/10.3200/CRIT.47.1.3-22.

    Article  Google Scholar 

  • Klein, Michael L. 2020. Intertextuality, topic theory and the open text. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 13–24. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Kramer, Lawrence. 1984. Music and poetry: The nineteenth century and after. Berkeley: University of California Press.

    Google Scholar 

  • ———. 2002. Musical meaning toward a critical history, 2002. Berkeley/London: University of California Press.

    Google Scholar 

  • ———. 2005. Speaking melody, melodic speech. In Word and music studies: Essays on music and the spoken word and on surveying the field, ed. Suzanne M. Lodato and David Francis Urrows, 127–143. Amsterdam/New York: Rodopi.

    Google Scholar 

  • ———. 2011. Interpreting music. Berkeley: University of California Press.

    Google Scholar 

  • Kramer, Lawarence. 2017. Song acts. Writings on words and music. Leiden/New York: Brill Rodopi.

    Book  Google Scholar 

  • Kramer, Lawrence. 2020. Music and the rise of narrative. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 395–404. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Krick-Aigner, Kirsten, and Marc-Oliver Schuster, eds. 2013. Jazz in German-language literature. Würzburg: Königshausen & Neumann.

    Google Scholar 

  • Krimmer, Elisabeth. 2014. Revelation in the public sphere: Religion and violence in Heinrich von Kleist’s “Die Heilige Cäcilie oder Die Gewalt der Musik (Eine Legende)”’. Seminar: A Journal of Germanic Studies 50: 295–313.

    Article  Google Scholar 

  • Laws, Catherine. 2003. Beethoven’s haunting of Beckett’s ghost trio. In Drawing on Beckett. Portraits, performances and cultural contexts, ed. Linda Ben-Zvi, 197–213. Tel Aviv: Assaph Books.

    Google Scholar 

  • Leppert, Richard D. 1993. The sight of sound: Music, representation, and the history of the body. Berkeley: University of California Press.

    Google Scholar 

  • Lévi-Strauss, Claude. 2001[1978]. Myth and meaning. London: Routledge.

    Google Scholar 

  • Lichtenstein, Sabine K. 2003. Listening to Kurt Schwitters’ Ursonate. A Dadaistic-romantic transposition D’arts? Arcadia 38: 276–284. https://doi.org/10.1515/arca.38.2.276.

    Article  Google Scholar 

  • Lindskog, Annika J. 2014. Silent modernism. Soundscapes and the unsayable in Richardson, Joyce and Wolf. Lund: Lund University.

    Google Scholar 

  • Lock, Graham, and David Murray, eds. 2009. Thriving on a riff. Jazz & blues influences in African American literature and film. New York: Oxford University Press.

    Google Scholar 

  • Lubkoll, Christine. 2017. Musik in Literatur: Telling. In Handbuch Literatur & Musik, eds. Nicola Gess and Alexander Honold, 78-94. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Lucchesi, Joachim. 2017. Bertold Brecht und die Musik. In Handbuch Literatur & Musik, ed. Nicola Gess and Alexander Honold, 482–494. Berlin/Boston: De Gruyter.

    Google Scholar 

  • May, Will. 2020. Music and contemporary poetry: Audience, apology and silence. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 616–624. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • McGrath, John. 2017. Samuel Beckett, repetition and modern music. London: Routledge.

    Book  Google Scholar 

  • McParland, Robert P. 2009. Music and literary modernism: Critical essays and comparative studies. Newcastle upon Tyne: Cambridge Scholars Publishing.

    Google Scholar 

  • Mildorf, Jarmila, and Till Kinzel. 2016. Audionarratology : Interfaces of sound and narrative. Berlin/Boston: De Gruyter.

    Book  Google Scholar 

  • Morrison, Simon A. 2020. Dancefloor-driven literature. The rave scene in fiction. New York: Bloomsbury.

    Book  Google Scholar 

  • Morrissette, Noelle. 2013. James Weldon Johnson’s modern soundscapes. Iowa City: University of Iowa Press.

    Book  Google Scholar 

  • Naumann, Barbara. 2017. “Musikalisierung” von Literatur in der Romantik. In Handbuch Literatur & Musik, ed. Nicola Gess and Alexander Honold, 374–386. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Newark, Cormac. 2011. Opera in the novel from Balzac to Proust. Cambridge: Cambridge University Press.

    Book  Google Scholar 

  • Odendahl, Johannes. 2008. Literarisches Musizieren: Wege des transfers von Musik in die Literatur bei Thomas Mann. Bielefeld: Aisthesis.

    Google Scholar 

  • Ordway, Scott J. 2007. A dominant Boylan: Music, meaning, and Sonata Form in the “Sirens” Episode of “Ulysses”. James Joyce Quarterly 45: 85–96.

    Article  Google Scholar 

  • Otiono, Nduka, and Josh Toth. 2019. Polyvocal Bob Dylan: Music, performance, literature. Cham: Palgrave Macmillan.

    Book  Google Scholar 

  • Pankow, Edgar. 2017. Musikphilosophie im 19. Jahrhundert. Unsagbarkeit und Sprache der Musik. In Handbuch Literatur & Musik, ed. Nicola Gess and Alexander Honold, 419–435. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Pater, Walter. 1986 (1873). The School of Giorgione. In The renaissance, 83–98. Oxford: Oxford University Press.

    Google Scholar 

  • Paterson, Adrian. 2020. Modernist poetry and music: Pound notes. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 587–601. Edinburgh: Edinburgh University Press.

    Chapter  Google Scholar 

  • Pedersen, Birgitte Stougaard. 2013. Aesthetic in hip rhythmic potentials skills, hop and music of and conventions, rhythm everyday culture: Life. In Off beat : Pluralizing rhythm, ed. Jan Hein Hoogstad and Birgitte Stougaard Pedersen, 55–70. Amsterdam: Rodopi.

    Google Scholar 

  • Petermann, Emily. 2014. The Musical Novel : Imitation of Musical Structure, Performance, and Reception in Contemporary Fiction. Rochester, New York: Camden House.

    Google Scholar 

  • Pfeiler, Martina. 2003. Sounds of poetry. Contemporary American performance poets. Tübingen: Narr.

    Google Scholar 

  • Phillips, Paul. 2010. A clockwork counterpoint. The music and literature of Anthony Burgess. Manchester University Press.

    Google Scholar 

  • Picker, John M. 2003. Victorian soundscapes. New York/Oxford: Oxford University Press.

    Book  Google Scholar 

  • Powell, Larson, and Brenda Bethman. 2008. “One must have tradition in oneself, to hate it properly”: Elfriede Jelinek’s musicality. Journal of Modern Literature 32: 163–183.

    Article  Google Scholar 

  • Previšić, Boris. 2017. Klanglichkeit und Textlichkeit von Musik und Literatur. In Handbuch Literatur & Musik, ed. Nicola Gess and Alexander Honold, 39–54. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Prieto, Eric. 2002. Listening in. Music, mind and the modernist narrative. Lincoln/London: University of Nebraska Press.

    Google Scholar 

  • ———. 2020. Becket, music and the ineffable. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 565–570. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Rabinowitz, Peter J. 2003. “A bird of like rarest spun Heavenmetal”: Music in a clockwork orange. In Stanley Kubrick’s a clockwork orange, ed. Stuart Y. McDougal, 109–130. Cambridge: Cambridge University Press.

    Chapter  Google Scholar 

  • Rajewsky, Irina O. 2005. Intermediality, intertextuality, and remediation: A literary perspective on intermediality. Intermédialités/Intermediality 6: 43–64. https://doi.org/10.7202/1005505ar.

    Article  Google Scholar 

  • Rajewsky, Irina O. 2002. Intermedialität. Tübingen: Francke.

    Google Scholar 

  • Redling, Erik. 2015. The Musicalization of poetry. The relation between music and poetry. In The handbook of intermediality: Literature – image – sound – music, ed. Gabriele Rippl, vol. 1, 494–511. Berlin: De Gruyter.

    Chapter  Google Scholar 

  • Reisberg, Daniel, ed. 1992. Auditory imagery. Hillsdale: Lawrence Erlbaum.

    Google Scholar 

  • Rife, David. 2008. Jazz fiction: A history and comprehensive reader’s guide. Lanham: Scarecrow.

    Google Scholar 

  • Sachs, Klaus-Jürgen, and Carl Dahlhaus. 2001. Counterpoint. Grove Music Online. https://doi-org.proxy.lnu.se/10.1093/gmo/9781561592630.article.06690. Accessed 23 Jan. 2022.

  • Said, Edward W. 1991. Musical elaborations. London: Chatto & Windus.

    Google Scholar 

  • Scher, Steven P. 1968. Verbal music in German literature. New Haven: Yale University Press.

    Google Scholar 

  • ———. 1982. Literature and music. In Interrelations of literature, ed. J.P. Barricelli and J. Gibaldi, 225–250. New York: Modern Language Association of America.

    Google Scholar 

  • Schirrmacher, Beate. 2012. Musik in der Prosa von Günter Grass. Intermediale Bezüge – Transmediale Perspektiven. Stockholm: Acta Universitatis Stockholmiensis.

    Google Scholar 

  • ———. 2016a. Mute performances: Ekphrasis of music and performative aesthetics in Eyvind Johnson’s Romantisk berättelse. In Silence and absence in literature and music. Word and music studies 15, ed. Werner Wolf and Walter Bernhart, 102–116. Leiden/Boston: Brill Rodopi.

    Google Scholar 

  • ———. 2016b. Musical performance and textual performativity in Elfriede Jelinek’s the piano teacher. Word and music studies – new paths, new methods. Danish Musicology Online. Special Edition 2016: 93–108.

    Google Scholar 

  • ———. 2021. Singing words and sticky music. Fragmentary lyrics and acts of violence. In Arts of incompletion: Fragments, drafts, revisions in words and music, ed. Walter Bernhart and Axel Englund, 143–165. Leiden/Boston: Brill Rodopi.

    Google Scholar 

  • Schirrmacher, Beate, Hannah Hinz, Heidi Hart, and Kathy Heady, eds. 2014. Ideology in words and music. Stockholm: Acta Universitatis Stockholmiensis.

    Google Scholar 

  • Schlauraff, Kristie A. 2018. Victorian gothic soundscapes. Literature Compass 15: 11.

    Article  Google Scholar 

  • Schweighauser, Philipp. 2008. The noises of modernist form: Dos Passos, Hurston, and the soundscapes of modernity. In American studies as media studies, ed. Frank Kelleter and Daniel Stein, 47–55. Heidelberg: Winter.

    Google Scholar 

  • ———. 2015. Literary Acoustics. In Handbook of intermediality. Literature – image – sound – music, ed. Gabriele Rippl, 475–493. Berlin: De Gruyter.

    Google Scholar 

  • Shockley, Alan. 2009. Music in the words. In Musical form and counterpoint in the twentieth century novel. Aldershot: Ashgate.

    Google Scholar 

  • Sichelstiel, Andreas. 2004. Musikalische Kompositionstechniken in der Literatur: Möglichkeiten der Intermedialitat und ihrer Funktion bei österreichischen Gegenwartsautoren. Essen: Die Blaue Eule.

    Google Scholar 

  • Skaggs, Carmen Trammell. 2010. Overtones of opera in American literature from Whitman to Wharton. Baton Rouge: Louisiana State University Press.

    Google Scholar 

  • Smith, Hazel. 2016. The contemporary literature–music relationship. New York: Routledge.

    Book  Google Scholar 

  • Smyth, Gerry. 2008. Music in contemporary British fiction: Listening to the novel. New York: Palgrave Macmillan.

    Google Scholar 

  • Snaith, Anna. 2020. Jean Rhys and the politics of sound. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 570–576. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Solibakke, Karl Ivan. 2007. Musical discourse in Jelinek’s the piano teacher. In Elfriede Jelinek. Writing woman, nation, and identity, ed. Matthias Piccolruaz Konzett and Margarete Lamb-Faffelberger, 250–269. Madison: Fairleigh Dickinson University Press.

    Google Scholar 

  • ———. 2014. Geseire, Geleiere und Gehübungen: Music and sports in Elfriede Jelinek’s Die Klavierspielerin and Winterreise. Austrian Studies 22: 106–120.

    Article  Google Scholar 

  • Stawiarski, Marcin. 2010. This is all but a book: Musicalized paratextuality in literature. Neohelicon 37: 93–112. https://doi.org/10.1007/s11059-010-0054-9.

    Article  Google Scholar 

  • StClair, Justin. 2020. Notes on soundtracked fiction: The past as future. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 672–680. Edinburgh: Edinburgh University Press.

    Google Scholar 

  • Strauss, Frithjof. 2003. Soundsinn: Jazzdiskurse in den skandinavischen Literaturen. Freiburg i. Br: Rombach.

    Google Scholar 

  • Sundmark, Björn. 2011. The sound and music of Astrid Lindgren. In Beyond Pippi Longstocking: Intermedial and international aspects of Astrid Lindgren’s works, ed. Astrid Surmatz, 201–218. New York: Routledge.

    Google Scholar 

  • Sutton, Emma. 2013. Virginia Woolf and classical music: Politics, aesthetics, form. Edinburgh: Edinburgh University Press.

    Book  Google Scholar 

  • ———. 2020. Music in Woolf’s short fiction. In The Edinburgh companion to literature and music, ed. Delia da Sousa Correa, 544–552. Edinburgh: Edinburgh University Press.

    Chapter  Google Scholar 

  • Tambling, Jeremy. 2012. Opera and Novel Ending Together: Die Meistersinger and Doktor Faustus. Forum for Modern Language Studies 48: 208–221.

    Article  Google Scholar 

  • Tillmann, Markus. 2012. Populäre Musik und Pop-Literatur. In Zur Intermedialität literarischer und musikalischer Produktionsästhetik in der deutschsprachigen Gegenwartsliteratur. Bielefeld: Transcript.

    Google Scholar 

  • Varga, Adriana, ed. 2014. Virginia Woolf and music. Indiana University Press. http://www.jstor.org/stable/j.ctt16gz62t.

    Google Scholar 

  • Vilmar, Therese Wiwe. 2020. It’s in the silence you feel you hear: Music, literature, and melophrasis. Orbis Litterarum: International Review of Literary Studies 75: 281–297. https://doi.org/10.1111/oli.12276.

    Article  Google Scholar 

  • Viol, Claus-Ulrich. 2006. Jukebooks: Contemporary British fiction, popular music, and cultural value. Heidelberg: Winter.

    Google Scholar 

  • Visvis, Vikki. 2008. Alternatives to the “talking cure”: Black music as traumatic testimony in Toni Morrison’s “Song of Solomon”. African American Review 42: 255–268.

    Google Scholar 

  • von Ammon, Frieder. 2017. Von Jazz und Rock/Pop zur Literatur. In Handbuch Literatur und Musik, ed. Nicola Gess and Alexander Honold, 535–545. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Weaver, Jack W. 1998. Joyce’s music and noise. Theme and variation in his writings. Gainesville: University of Florida Press.

    Google Scholar 

  • Wolf, Werner. 1999. The Musicalization of fiction: A study in the theory and history of intermediality, 1999. Amsterdam und Atlanta: Rodopi.

    Google Scholar 

  • ———. 2008. Relations between literature and music in the context of a general typology of intermediality. In Comparative literature: Sharing knowledge for preserving cultural diversity. Encyclopedia of life support systems (EOLSS), ed. Lisa Block, Paola de Behar, Jean-Michel Dijan Mildonian, Djelal Kadir, Alfons Knauth, Dolores Romero Lopez, and Marcio Seligmann Silva, 133–155. Oxford: Eolss Publishers. http://www.eolss.net.

    Google Scholar 

  • ———. 2017. Musik in Literatur. Showing. In Handbuch Literatur & Musik, ed. Nicola Gess and Alexander Honold, 95–113. Berlin/Boston: De Gruyter.

    Google Scholar 

  • Young, Kevin, ed. 2003. Blues Poems. New York: Knopf.

    Google Scholar 

  • ———, ed. 2006. Jazz Poems. New York: Knopf.

    Google Scholar 

  • Zimmerman, Nadya. 2002. Musical form as narrator: The Fugue of the Sirens in James Joyce’s Ulysses. Journal of Modern Literature 26: 108.

    Article  Google Scholar 

Download references

Author information

Authors and Affiliations

  1. Linnaeus University, Växjö, Sweden

    Beate Schirrmacher

Authors
  1. Beate Schirrmacher
    View author publications

    You can also search for this author in PubMed Google Scholar

Corresponding author

Correspondence to Beate Schirrmacher .

Editor information

Editors and Affiliations

  1. Linnaeus University, Växjö, Sweden

    Jørgen Bruhn

  2. Complutense University of Madrid, Madrid, Spain

    Asunción López-Varela

  3. Federal University of São João del-Rei, São João del Rei, Brazil

    Miriam de Paiva Vieira

Section Editor information

  1. Linnaeus University, Växjö, Sweden

    Jorgen Bruhn

  2. English Studies, Comparative Literature, Complutense University of Madrid, Madrid, Spain

    Asun López-Varela Azcárate

  3. Federal University of São João del-Rei, São João del-Rei, Brazil

    Miriam de Paiva Vieira

Rights and permissions

Reprints and permissions

Copyright information

© 2023 The Author(s), under exclusive licence to Springer Nature Switzerland AG

About this entry

Check for updates. Verify currency and authenticity via CrossMark

Cite this entry

Schirrmacher, B. (2023). Music Transformation in Literature. In: Bruhn, J., López-Varela, A., de Paiva Vieira, M. (eds) The Palgrave Handbook of Intermediality. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-91263-5_42-1

Download citation

  • DOI: https://doi.org/10.1007/978-3-030-91263-5_42-1

  • Received:

  • Accepted:

  • Published:

  • Publisher Name: Palgrave Macmillan, Cham

  • Print ISBN: 978-3-030-91263-5

  • Online ISBN: 978-3-030-91263-5

  • eBook Packages: Springer Reference Literature, Cultural and Media StudiesReference Module Humanities and Social SciencesReference Module Humanities

Publish with us

Policies and ethics

Search

Navigation