WINNER: 2014 CHOICE Outstanding Academic Title AwardAnalyzes two groups of "musical novels" -- novels that take music as a model for their construction -- including jazz novels by Toni Morrison and Michael Ondaatje, and novels based on Bach's Goldberg Variations.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 tothose of music. It takes music as a model for its own construction, borrowing techniques and forms that range from immediately perceptible, essential aspects of music (rhythm, timbre, the simultaneity of multiple voices) to microstructural (jazz riffs, call and response, leitmotifs) and macrostructural elements (themes and variations, symphonies, albums). The musical novel also evokes the performance context by imitating elements of spontaneity that characterize improvised jazz or audience interaction.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 consists of jazz novels by Toni Morrison, Albert Murray, Xam Wilson Cartiér, Stanley Crouch, Jack Fuller, Michael Ondaatje, and Christian Gailly. The secondgroup of novels, by Richard Powers, Gabriel Josipovici, Rachel Cusk, Nancy Huston, and Thomas Bernhard, imitates a single piece of music, J. S. Bach's Goldberg Variations.Emily Petermann is Assistant Professor of American Literature at the University of Konstanz.

WINNER: 2014 CHOICE Outstanding Academic Title AwardAnalyzes two groups of "musical novels" -- novels that take music as a model for their construction -- including jazz novels by Toni Morrison and Michael Ondaatje, and novels based on Bach's Goldberg Variations.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 tothose of music. It takes music as a model for its own construction, borrowing techniques and forms that range from immediately perceptible, essential aspects of music (rhythm, timbre, the simultaneity of multiple voices) to microstructural (jazz riffs, call and response, leitmotifs) and macrostructural elements (themes and variations, symphonies, albums). The musical novel also evokes the performance context by imitating elements of spontaneity that characterize improvised jazz or audience interaction.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 consists of jazz novels by Toni Morrison, Albert Murray, Xam Wilson Cartiér, Stanley Crouch, Jack Fuller, Michael Ondaatje, and Christian Gailly. The secondgroup of novels, by Richard Powers, Gabriel Josipovici, Rachel Cusk, Nancy Huston, and Thomas Bernhard, imitates a single piece of music, J. S. Bach's Goldberg Variations.Emily Petermann is Assistant Professor of American Literature at the University of Konstanz.