Musical forms

It seems to me a lot of sf (especially urban fantasy) focuses on rock music: characters who are in rock bands, scenes in which authors attempt to describe the magical experience of playing rock music (those scenes almost always leave me cold), stories that draw their titles, characters, or situations from popular songs. (Though a lot of rock-oriented stories, it seems to me, are a little too self-conscious about it, throwing in too many sly references to a particular popular song or musician; that can be done well, but I think it's easy to overdo it.) And there are a fair number of folktale-like stories that draw on old folksongs (such as Justine Larbalestier's "The Cruel Brother").

A smaller number of stories focus on jazz. Alan DeNiro, for example, has sold us a couple: "Last Call in Temperance" (a science fiction story about jazz musicians, among other things) and "Tetrarchs," a story that feels (at least to my uneducated ear; I don't know whether this was actually what Alan was trying for) like a prose version of jazz music.

And this week's SH story, Eliot Fintushel's "Women Are Ugly," has a section that describes a date in terms of the movements of a piece of classical music.

But I don't think I've ever seen stories that try to feel like most other musical forms. What would a story be like that took its rhythms and tone and feel and sensibilities from rap, say, or klezmer, or techno? Or punk? (I suppose Love and Rockets counts.) Or even blues? (I suspect I've seen blues stories, but I'm not thinking of any offhand, except in the sense of stories about how awful life is.)

I suppose I've read stories that feel like New Age music to me, but not generally in a good way; I more or less like New Age stuff, but it tends to feel like background music to me, and/or puts me to sleep.

Which brings up a problem with this approach to stories: if the editor and/or the readers don't have some appreciation for the musical genre in question, they may not like or even get the story.

But I still think it's an interesting approach.

9 Responses to “Musical forms”

  1. Jacob

    How about a time travel story that mimics roundsinging?

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  2. Greg

    Jacob, I like that. “Row, row, row your boat. No seriously, row it again. And again.”

    Jed, if you haven’t read it, you might find L. Timmel Duchamp’s work interesting. LTD was a musician and composer, and I see some of the sensitivity to structure in those stories.

    Greg

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  3. Jed

    Nice idea, Jacob—and it reminds me that there are a fair number of stories that use fugue structures (including Jeffrey Ford’s Hugo-nominated “The Empire of Ice Cream“), which reminds me that I neglected to mention Jennifer de Guzman’s “Counterpoint.”

    Greg: I’ve been meaning to read her stories; I like the one nonfiction piece of hers that I’ve read quite a bit. Thanks for the recommendation!

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  4. jacob

    Tee hee!

    But I’m actually serious — it could be a pretty interesting story if a character had to do a series of tasks (call them A,B,C) such that, when he goes back in time and starts the series again so that a version of himself is doing task A while another version is on task B, the tasks interact in an interesting way. And then when he’s simultaneously on B and C they interact in a different way. Like the harmony lines that form in roundsinging.

    Jacob

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  5. Greg Beatty

    Jed, regarding LTDuchamp, she has a collection out now–I just reviewed it for NYReview of SF. Some of her stuff seems very Strange Horizonish.

    And the musical background helps in some ways, but gets in the way other times, but is always interesting.

    Greg

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  6. David Moles

    Drum and bass figures heavily in Mieville’s King Rat, IIRC.

    Punk is really a rock-and-roll subgenre, at least as far as the rhythm and melody are concerned. As for a punk sensibility, surely that’s been done plenty of times?

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  7. M. Hogarth

    My first novel had “movements” instead of parts. 🙂

    But then, I grew up on classical music. It made sense to structure a novel that way, even though I did it badly.

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  8. metasilk

    Charles deLint uses folk music of various kinds (especially Irish-based), I think. And ditto Terri Windling (I think that’s whom I’m thinking of but my brain is jugglging a bit much to be sure). I don’t think that makes the stories sound Gaelic-filk/Candaian-folk in terms of pace or rhythm though. Hm.

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  9. Justine Larbalestier

    I have a dim memory of reading a whole anthology around sf and music. In the late 80s early 90s? It had a story by Ray Davis and Lisa Tuttle. Though I think it was mostly British writers.

    God, my memory is so shot!

    I’m not really sure that writing stories based on ballads always counts. My story shouldn’t seeing as how I’ve never heard “The Cruel Brother” played or sung. I just read through hundreds of different versions of the lyrics.

    Justine

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