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"Music Fiction."
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Miguel and the grand harmony
Music is everywhere except in a young boy's heart, so it has to find a way to enter there.
Book
Nostalgie, Futurismus, Fragment
Although an extensive number of articles has been concerned with different approaches to Ridley Scott’s 1982 film Blade Runner, only few of them have focussed on Vangelis’s soundtrack. This article shows that the film’s musical concept is tied to the core topics of the film in multiple ways and that a comprehensive analysis of the film should not neglect its merits. Starting with a short introduction to Philip K. Dick’s original musical concept in his novel Do Androids Dream of Electric Sheep?, the article deals with the film’s ideas about ‘genre and history’, ‘memory and identity’ as well as ‘technology and nature’. A short epilogue references the reactionary sequel Blade Runner 2049 and its music but the main focus is on a systematic analysis of the music, its contexts and its stance on the film’s representative concerns.
Journal Article
Get with the beat!
While Puddle is busy enjoying the \"music\" of Woodcock Pocket, Toot is off to the Congo on an African adventure where he is inspired to \"get with the beat.\"
Book
Spock und seine Zeit
The article examines the character of Spock from the Science Fiction franchise Star Trek with regard to his musical performances and musical creations. Spock’s characterization as a musician would not have been possible without the musical ambitions of his actor Leonard Nimoy. Including Leonard Nimoy’s musical output (also his musical performance as Spock on music albums outside the traditional Star Trek canon) and considering the economic, copyright, personal and content interdependencies between the original television series and Nimoy’s musical and vocal performance, new conclusions can be drawn in regard to the musicalization of the early Star Trek franchise.
Journal Article
Nocturnes : five stories of music and nightfall
Five interconnected stories in which music is a vivid and essential character.
Book
What Remains of the Past
The diegetic music used in the different Star Trek series belongs to a whole network referring to different products of human art, and therefore representing the quintessence of culture as a repository of society’s most valuable and priceless treasures. This network is highly significant for the Star Trek universe: it states that the fine and performative arts are an important part of human education, necessary for the refinement of one’s character as well as a condition for the evolved state of humanity as primarily peaceful race in a non-dystopian future. Based on a selection of examples from the different series, the paper questions the repertoire, the performance practice and the use of human music framing the cultural background of living in the future. By looking closer at one special episode, it also examines the importance of opera music as representative of the classical music culture.
Journal Article
Bears in a Band
CLANG! CLANG! TOOTLEY-TOOO! The impossibly cute bears are back and this time they have musical instruments at the ready. The little bears pick up their instruments and play a noisy song. They don t care if the notes are wrong! But uh-oh, Big Brown Bear is fast asleep. Will their lively music wake him up? A small moment of trepidation segues into a jubilant performance in a story that will be sweet music to little ears.
Book
Science Fiction and Its Music
This article discusses two very different musical tropes that appear often in science fiction literature. One of these tropes involves descriptions of futuristic or other-worldly, and thus never-heard-before, music; the other trope involves music that is quite oldfashioned and earthbound. Surveying sci-fi literature that ranges from Jules Verne and H.G. Wells to Philip K. Dick and William Gibson, the article argues that it is music of the latter sort – not illustrative but, rather, symbolic and metaphoric – that most significantly pertains to the vulnerable human situations of the fictions’ protagonists.
Journal Article
Geraldine, the music mouse
After nibbling an enormous piece of parmesan cheese into the shape of a giant mouse holding a flute, Geraldine hears music for the first time.
Book
I Must Remember, even if it Takes a Million Years
Originally intended as a multifaceted science fiction film about a post-apocalyptic Earth of the future, the ill-fated Lifehouse project aimed to combine narrative with live concert footage of The Who, including audience interaction. Never fully realized, the vision haunted Pete Townshend for almost 40 years, the Lifehouse project manifested as a personally nostalgic act in which Townshend continually attempted to revisit this creative vision of his youth. In this article, I will analyze this vision of nostalgic futurism through three key artifacts resulting from Townshend’s original 1970s vision: The Who’s 1971 album Who’s Next; the 1999 radio play (released in the 6-volume box set, The Lifehouse Chronicles); and the 2007 musical software system known as The Lifehouse Method.
Journal Article