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Journal articles on the topic 'Music and magic in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Matz, John Robert. "Scoring Mythology, Megacorps, and Magic." Journal of Sound and Music in Games 3, no. 1 (2022): 60–63. http://dx.doi.org/10.1525/jsmg.2022.3.1.60.

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The composer for the digital collectible card game Mythgard (Rhino Games, 2020) shares a perspective on the design and implementation of the game’s music. Composition challenges included creating a dynamic music system that would work across multiple platforms without middleware and crafting an iconic “sound” for the game’s mythology-infused science fiction universe.

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2

Fulka, Vladimír. "Román Thomasa Manna "Doktor Faustus" a hudobná estetika Theodora W. Adorna." ESPES. The Slovak Journal of Aesthetics 3, no. 2 (2014): 14–26. https://doi.org/10.5281/zenodo.6387942.

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Thomas Mann's novel Doktor Faustus. Das Leben des deutschen Tonsetzers Adrian Leverkühn erzählt von seinem Freunde (1947) is one of the most known literary works of the 20th century. The creation of this novel was closely tied with an encounter of Thomas Mann with a philosopher and musicologist Theodor W. Adorno in their american exile during the World War II. Thomas Mann's novel represents literary fiction of Adorno's theory of music and musical aesthetics, as found in the study Philosophie der neuen Musik (1949).

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3

Duhan, Alice. "L’Écriture en langue étrangère comme pratique et comme poétique: le cas de deux écrivains « francographes », Nancy Huston et Andreï Makine." Nottingham French Studies 56, no. 2 (2017): 212–26. http://dx.doi.org/10.3366/nfs.2017.0182.

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This article examines the claims made by translingual writers Nancy Huston and Andreï Makine about the literary function of the foreign language, and also analyses how the poetic potential of foreign words is thematized in their fiction. It focuses on two novels which portray artistic trajectories in search of a language distinct from the imperfect words of everyday expression, be it through a nostalgically opaque language of childhood as in Le Testament français, or through an exploration of the meeting point of music and language as in Lignes de faille. While both writers emphasize the defam

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Fomin, Hlib. "AUTHOR’S WORLD IN THOMAS LIGOTTI’S SHORT STORY “THE MUSIC OF THE MOON”." Odessa National University Herald. Series: Philology 28, no. 2(28) (2023): 43–49. http://dx.doi.org/10.18524/2307-8332.2023.2(28).299786.

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The purpose of the article is to study the nature of the author’s world as expressed in Thomas Ligotti’s short story “Moonlight Music”. The starting point of the article is the understanding of the author’s world as the writer’s response to the main set of problems of reality, which he reproduces in the work with the help of artistic techniques and means. The author’s world is always based on certain artistic principles and is conditioned by the structure of the writer’s soul, as well as by the peculiarities of artistic thinking specific to this writer. The main method of research in the artic

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5

Wood, Emma. ""In her prophetic fury sewed the work": Remembering Sybil's Handkerchief and Magical Artistries in Djanet Sears' Harlem Duet." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (2021): 174–83. http://dx.doi.org/10.5206/tba.v3i1.13917.

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This paper examines the history of black women artistries, postcolonial magic, and music within Canadian playwright Djanet Sears’ 1997 Toronto production Harlem Duet. In a modern re-adaptation of Shakespeare’s Othello, Sears’ Harlem Duet resituates literary historical symbols, like the infamous handkerchief, and Shakespearean hidden characters within a diasporic and empowered space of agency, intergenerational trauma, and reclamation. With the maternal theoretical foundation of Alice Walker’s work “In Search of Our Mothers’ Gardens,” this paper matrilineally connects Harlem Duet’s protagonist

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6

Caballero, Carlo. "Silence, Echo: A Response to "What the Sorcerer Said"." 19th-Century Music 28, no. 2 (2004): 160–82. http://dx.doi.org/10.1525/ncm.2004.28.2.160.

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In "What the Sorcerer Said," Carolyn Abbate proposed a reading of Dukas's Sorcerer's Apprentice (1897) focused on the possibility of musical narration. The present essay shifts that focus to the question of the work's uncanniness and excess. In particular, where Abbate finds that the slow part of the epilogue resonates with her understanding of the work as an instance of narration, I begin with the final two measures of the work, which suddenly revert to the fast tempo of the central scherzo. These final measures, which Abbate does not mention, produce a disturbing regression that suggests ano

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7

Chesterton, G. K. "Magic and Fantasy in Fiction." Chesterton Review 31, no. 3 (2005): 11–15. http://dx.doi.org/10.5840/chesterton2005313/43.

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8

Horn, Wanda L. "THE MAGIC OF MUSIC." Journal of Psychosocial Nursing and Mental Health Services 40, no. 12 (2002): 8. http://dx.doi.org/10.3928/0279-3695-20021201-05.

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9

DiChristina, Mariette. "Music, Midlife and Magic." Scientific American Mind 26, no. 2 (2015): 1. http://dx.doi.org/10.1038/scientificamericanmind0315-1.

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10

Toran, Mindy R. "The Magic of Music." Case Manager 10, no. 6 (1999): 41–43. http://dx.doi.org/10.1016/s1061-9259(99)80153-2.

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11

Butler, Stephen. "Music, Magic, and Humor." Journal of Film Music 9, no. 1-2 (2022): 69–79. http://dx.doi.org/10.1558/jfm.38272.

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If you are a student of film music researching the life and work of Max Steiner, there are some things you should know, especially if you are working from a country other than the United States. In 2006–2007, my wife Jane and I traveled to three of the cities with which Steiner is most closely associated (Vienna, London, and Los Angeles) and visited Brigham Young University (BYU) in Provo, Utah, where the composer’s personal papers have been stored since 1981. This article details those journeys, taken in a strange parallel to Steiner’s own. These include Steiner’s experiences as a child prodi

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12

Mann, William, and Geraint Lewis. "Magic Michael." Musical Times 126, no. 1714 (1985): 732. http://dx.doi.org/10.2307/965199.

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13

Smith, Richard Langham, and Wilfrid Mellers. "Magic Bells." Musical Times 133, no. 1788 (1992): 77. http://dx.doi.org/10.2307/965855.

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14

Loeffler, Zachary. "‘The only real magic’: enchantment and disenchantment in music's modernist ordinary." Popular Music 38, no. 01 (2019): 8–32. http://dx.doi.org/10.1017/s026114301800048x.

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AbstractThis essay tracks a predominant fantasy of music in global liberal-capitalist culture: music as ‘the only real magic’. Although discussion of music's ‘magic’ has been characterized as a vestige of Romanticism, I argue that it became a cornerstone of ordinary/everyday music discourse circa 1900, around the time that sociologists defined modernity as mostly bereft of magic and configured the aesthetic as its remaining stronghold. Juxtaposing claims of magic in ordinary music discourse with a coeval archive of these ‘disenchantment’ narratives, I trace music's institutionalization as magi

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15

Gilead, Sarah. "Magic Abjured: Closure in Children's Fantasy Fiction." PMLA 106, no. 2 (1991): 277. http://dx.doi.org/10.2307/462663.

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16

Hopkin, Bart, and Reynold Weidenaar. "Magic Music from the Telharmonium." Notes 52, no. 3 (1996): 821. http://dx.doi.org/10.2307/898646.

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17

Boon, Hussein. "Writing popular music fiction." Short Fiction in Theory & Practice 13, no. 1 (2023): 37–51. http://dx.doi.org/10.1386/fict_00072_1.

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A recent short story I completed in a style area described as popular music fiction, using fiction to critically explore issues within popular music and communicate these to a wider audience, will be the main focus of this article. The ideas behind the short story and the incorporation of research and subject areas to create a fictional setting, especially intersections with otherness, diversity, resistance, technology, creative practice, business and the future, will be discussed. Key central themes were those relating to race, including lack of presence and attribution and concerns about AI,

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18

Leon, Crina. "Steinar Lone and the magic of translation." Romanian Journal for Baltic and Nordic Studies 7, no. 1 (2015): 151–58. http://dx.doi.org/10.53604/rjbns.v7i1_7.

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Steinar Lone is a literary translator and a non-fiction writer, a member of the Norwegian Association of Literary Translators and of the Norwegian Non-Fiction Writers and Translators Organization. He has translated Romanian literature into Norwegian for 22 years, starting in 1993 with Mircea Eliade’s On Mântuleasa Street. He has translated Mihail Sadoveanu’s The Hatchet, Camil Petrescu’s The Procrustean Bed, as well as the Blinding trilogy, Nostalgia, Travesti, Why We Love Women and Europe has the shape of my brain by Mircea Cărtărescu. For his translation of Blinding. The Left Wing he was awa

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19

Rahmani, Gulrahman, and Sayed Mojtaba Nayel. "Magic Realism and Fantastic in Contemporary Literature." International Journal of Middle Eastern Research 3, no. 1 (2024): 01–03. http://dx.doi.org/10.32996/ijmer.2024.3.1.1.

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Magical Realism and Fantastic are two widely used concepts in contemporary literature. Fantastic is such fiction that blends the realities of our physical world with the supernatural in an indistinguishable manner, with the aim of leading minds of varying abilities on different trails. Both are used in combination to complete the novel. The reader is amazed by the inability to differentiate between real life and the world of fantasy. In Magical Realism, as the name implies, magic, history, fiction and myths are employed. The characters often possess supernatural abilities. It is often mistaken

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20

Kurysheva, Liubov A. "Fairy-tale fantasy in Russian handwritten fiction of the late 17th - first third of the 18th centuries." Sibirskiy filologicheskiy zhurnal, no. 3 (2022): 34–44. http://dx.doi.org/10.17223/18137083/80/4.

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The paper analyzes the changes in interpreting magic, fairytale fiction that occurred in translated and original stories of the late 17th - first third of the 18th centuries. A number of fiction works of this period show representations of magic closely linked to the Christian worldview, with some works appearing referring to magic and sorcery as a non-judgmental category. The first Russian translations of fairy tales by M.-C. d’Aulnoy’s made in the Petrine era contributed to the appearance of pure genre fiction free from judgment. These were “The Tale of Florine” (1700 - late 1710s, “L’oiseau

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21

Miller, L. "Music, science and magic: Penelope Gouk, Music, science and natural magic in seventeenth-century England." Early Music XXX, no. 1 (2002): 121–22. http://dx.doi.org/10.1093/em/xxx.1.121.

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22

Johnston, Sarah Iles, and Hugh Parry. "Visions of Enchantment: Essays on Magic in Fiction." Phoenix 57, no. 1/2 (2003): 177. http://dx.doi.org/10.2307/3648506.

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23

Filer, Malva E., and Patricia Hart. "Narrative Magic in the Fiction of Isabel Allende." World Literature Today 65, no. 1 (1991): 91. http://dx.doi.org/10.2307/40146161.

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24

Invernizzi, Virginia, and Patricia Hart. "Narrative Magic in the Fiction of Isabel Allende." Modern Language Review 87, no. 3 (1992): 790. http://dx.doi.org/10.2307/3733035.

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25

Boschetto, Sandra M., and Patricia Hart. "Narrative Magic in the Fiction of Isabel Allende." Hispania 75, no. 2 (1992): 336. http://dx.doi.org/10.2307/344053.

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26

McMurray, George R., and Jane Robinett. "This Rough Magic: Technology in Latin American Fiction." Hispania 79, no. 2 (1996): 254. http://dx.doi.org/10.2307/344904.

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27

Norris, Dorothy. "Aloe Vera: Fact or Fiction, Myth or Magic?" British Journal of Anaesthetic and Recovery Nursing 8, no. 3 (2007): 59–60. http://dx.doi.org/10.1017/s1742645607000216.

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28

Boyer, Pascal. "Further Distinctions between Magic, Reality, Religion, and Fiction." Child Development 68, no. 6 (1997): 1012. http://dx.doi.org/10.2307/1132283.

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29

Yep, Laurence. "The Outsider in Fiction and Fantasy." English Journal 94, no. 3 (2005): 52–54. http://dx.doi.org/10.58680/ej20054210.

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For Laurence Yep, the outsider is a dominant theme in writing and life. Whether writing historical and contemporary fiction, science fiction, or fantasy, he hopes that readers will see the magic and wonder in the world that can be found by shifting perspective and seeing “things instead as outsiders.”

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30

Berger, Karol. "Contemplating Music Archeology: Music in Renaissance Magic . Gary Tomlinson." Journal of Musicology 13, no. 3 (1995): 404–23. http://dx.doi.org/10.1525/jm.1995.13.3.03a00050.

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31

Gall, Alfred. "Fantastyka naukowa jako bajka? Rozważania nad „Bajkami robotów” Stanisława Lema." Tematy i Konteksty 12, no. 17 (2022): 146–59. http://dx.doi.org/10.15584/tik.2022.10.

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This paper deals with Lem’s “Fables for Robots” and sheds some light on the genological interplay between science fiction and fairy tale. Its aim is to show to what extent a key feature of fairy tales like magic is transformed within the framework of science fiction. Lem depicts peculiarities of technological civilisation (Gotthard Günther). By referring to the fairy tale Lem draws the attention to the non-technological background in this civilisation, namely the desires and aspirations on which technologies as well as social order are based. In this interconnection of desire and technology li

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32

Majolino, Claudio. "“A Kind of Magic”: Emotions, Imagination, Language – A Reading of Sartre." Research in Phenomenology 51, no. 2 (2021): 200–220. http://dx.doi.org/10.1163/15691640-12341471.

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Abstract This paper maintains that Sartre’s concept of magic has to be considered as a full-fledged and quite technical phenomenological concept. Such concept (a) describes a very specific way in which one is able to be conscious-of-something and (b) reveals some structural features of consciousness and its mode of existence. Moreover (c) the “magical” cluster emotions-imagination-language also appears to be the existential matrix, as it were, from which fictions are generated: starting from the most original fiction of all, namely the constitutive fiction upon which each individual existence

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33

Houlahan, Micheal, and Klara Kokas. "Joy through the Magic of Music." Music Educators Journal 86, no. 6 (2000): 46. http://dx.doi.org/10.2307/3399621.

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34

Wagner, Aleksandra, and Zdravko Blažeković. "European fiction—Facts or music?" History of European Ideas 20, no. 1-3 (1995): 461–67. http://dx.doi.org/10.1016/0191-6599(95)92978-4.

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35

Subedi, Yubaraj. "Magic Realism in Rabindra Sameer's Mrityuko Aayu." Journal of Janta Multiple Campus 3, no. 1 (2024): 167–80. http://dx.doi.org/10.3126/jjmc.v3i1.66155.

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This article analyzes the novel Mrityuko Aayu in the light of Magic Realism. Applying magic realism is methodological approach for critical analysis of the novel in this article. It follows interpretive textual analysis. Free translation has been used while taking the citation from the novel. I have drawn the conclusion that the novel is a magic realist novel as it has introduced innovative style of narrating the story. The story begins from the death of the protagonist, but he is capable of seeing everything even after the death. It has blended mundane and supernatural, ordinary and extraordi

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36

Poradecki, Mateusz. "The limits of magic: A study in breaking through barriers in fantasy fiction." Acta Universitatis Lodziensis. Folia Litteraria Polonica 57, no. 2 (2020): 113–28. http://dx.doi.org/10.18778/1505-9057.57.06.

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The article analyses the theme of magic in the works of Andrzej Sapkowski (the Witcher series) and Jarosław Grzędowicz (Pan Lodowego Ogrodu) in terms of their potential, limitations, and the social consequences of using them. Magic is a genre-forming element of fantasy fiction, yet in most works – e.g. Tolkien’s The Lord of the Rings or Robert E. Howard’s Conan series – readers do not learn about it more than they do from fairy tales. Magic is subject to extensive descriptions much later, i.e. in the works by Sapkowski and Grzędowicz. In Sapkowski’s texts, it is a natural force of nature, whic

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37

Widmer, Alexandra. "The Order of the Magic Lantern Slides." Commoning Ethnography 2, no. 1 (2019): 52. http://dx.doi.org/10.26686/ce.v2i1.5269.

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Dr Sylvester Lambert, an American public health doctor who worked for the International Health Board of the Rockefeller Foundation, created a magic lantern slide presentation to retell the arrest of a sorcerer that he had witnessed in 1925 on the island of Malakula in Vanuatu. In this article, I use creative non-fiction to envision other audiences and narrators of this storied event to present an expanded picture of life for Pacific Islanders at that time. I also reflect on how particular events make for good stories because they are contests about belief and incredulity. Reimagining medical s

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38

BBC News. "Can Science Fiction Ever Get the Science Right?" Asia Pacific Physics Newsletter 03, no. 01 (2014): 26–27. http://dx.doi.org/10.1142/s2251158x14000071.

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New film Gravity promises to rekindle the debate over how "hard" — or accurate-science fiction should be. Should film-makers adhere to basic scientific principles, or should audiences just feel the magic instead, asks Peter Ray Allison.

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39

Ahmadi, Moslem, and Mosleh Ahmadi. "The Illusion of Magic Realism as a Stratagem in the Hound of the Baskervilles." Advances in Language and Literary Studies 9, no. 3 (2018): 78. http://dx.doi.org/10.7575/aiac.alls.v.9n.3p.78.

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The focus of the current research is on the relationship between detective fiction and the art of magic. Such a study is important in order to bring into surface a hidden aspect in one of the most popular novels of detective fiction, i.e., The Hound of the Baskervilles and to reconsider this novel from a new and different point of view. The research approach adopted in this paper includes reconsidering the antagonist of the novel as a professional illusionist rather than a mere villain. The findings from this research provide evidence that adopting an illusionist’s position can provide the ant

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40

Jeal, Erica, and Susan Vandiver Nicassio. "Fact or Fiction?" Musical Times 141, no. 1871 (2000): 76. http://dx.doi.org/10.2307/1004664.

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41

Opas, L. "The magic carpet ride: reader involvement in romantic fiction." Literary and Linguistic Computing 14, no. 1 (1999): 89–101. http://dx.doi.org/10.1093/llc/14.1.89.

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42

Palmer, Stephanie C. "Realist Magic in the Fiction of William Dean Howells." Nineteenth-Century Literature 57, no. 2 (2002): 210–36. http://dx.doi.org/10.1525/ncl.2002.57.2.210.

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William Dean Howells was committed to determining what would inspire people from different economic, political, and religious backgrounds to imagine each other as respected members of a human community. Scholars have debated whether his realist aesthetic was suited to do that. Some have argued that realism works to contain the lower classes, and others have argued that it portrays a heterogeneous society in which social problems can be solved through human negotiation between the middle classes and others. Scholars have not, however, addressed how Howells performs the necessary shift in his fi

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43

Näsström, Britt-Mari. "Magical Music in Old Norse Literature." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 229–40. http://dx.doi.org/10.30674/scripta.67231.

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No society ever existed without performing music, and most cultures display many variants of music. Music also played and still plays an important part in different religious rites. From the days of yore, music has been intimately connected with the cult, whether it is performed as epic or lyric expressions. The Old Norse society was no exception to this statement and early finds from as far back as the Bronze Age reveal that different instrument were used in daily life. The most conspicuous specimens from this time are the bronze lures, which probably are depicted on the rock-carvings. All th

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44

Clark, C. "Fabricating magic: costuming Salieri's Armida." Early Music 31, no. 3 (2003): 451–62. http://dx.doi.org/10.1093/em/31.3.451.

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45

Prof. Sanjay Kumar Swarnkar and Shalini Shukla. "The Elements of Supernatural and Magic Realism in Toni Morrison’s Beloved." Creative Launcher 6, no. 3 (2021): 40–43. http://dx.doi.org/10.53032/tcl.2021.6.3.08.

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The present research paper is a study of the elements of Magic Realism and the supernatural elements in the novel, Beloved by the Nobel laureate novelist Toni Morrison. The term Magic Realism was originally applied in the 1920s to the school of surrealist German painters and was later used to describe the process fiction of writers like George Luis Burges, Gabriel Garcia Marquez, and Salman Rushdie etc. These writers weave a sharply etched realism representing ordinary events and details together with fantastic and dream-like elements, as well as with material derived from myth and fairy tales

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46

Hardy, Augusta. "Magic As Art in Lord Dunsany's The King of Elfland's Daughter." Irish University Review 48, no. 2 (2018): 265–80. http://dx.doi.org/10.3366/iur.2018.0354.

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In The King of Elfland's Daughter, Lord Dunsany crafts a fairy-story in which magic serves as an allegory for art. Elfland is a place of art, its timeless beauty created and sustained through magic; and its influence extends to the real world in the form of artistic inspiration. Indeed, elfin magic functions as art does: it preserves the past, renews one's vision, and imbues the material world with meaning. Dunsany's portrayal of art as magic in the novel is a poetic representation of his understanding of art as discussed in his non-fiction works. The novel concludes with a moment that symboli

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47

de Sousa, Ronnie. "Regulation, Fiction, and Flow." Les ateliers de l'éthique 18, no. 2 (2024): 60–64. https://doi.org/10.7202/1118211ar.

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Chapter 11 contains two primary topics, the regulation of emotions and questions arising from the power of music to arouse, express, or represent emotions. After some brief remarks about emotion regulation and a speculative thought about emotions in response to fiction, I raise some doubts about the discussion of “flow” in connection with listening to as opposed to performing music.

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48

Zhang, Xiaohong, and Peiyi Ou. "Magic realism and science fiction: Salman Rushdie’s inter-generic writing." International Journal of Arts and Humanities 2, no. 1 (2021): 36–43. http://dx.doi.org/10.25082/ijah.2021.01.001.

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Salman Rushdie’s fiction is well-known for its abundant mixes of magic realist and science fiction textual elements. By resorting to three writing strategies, namely “meta-writing,” “split-writing” and writing about identity-related issues, Rushdie generates a type of “inter-generic writing” that serves to voice authorial appeals for hybridity, impurity and plurality. Meta-writing is an authorial construction of the neo-historicist verisimilitude justifying the legitimacy and self-sufficiency of literary writing. Split-writing reveals “the alterity of selves,” thus advocating tolerance and plu

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49

Langer, Christian, Frank G. Rücker, Christian Buske, Hartmut Döhner, and Florian Kuchenbauer. "Targeted therapies through microRNAs: pulp or fiction?" Therapeutic Advances in Hematology 3, no. 2 (2011): 97–104. http://dx.doi.org/10.1177/2040620711432582.

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With the discovery of post-transcriptional silencing, the idea of targeted therapies became an approachable goal. The widespread involvement of microRNAs (miRNAs) was thought to be the magic bullet against multiple diseases. However, several hurdles, ranging from targeted delivery to side effects still have to be resolved. In this review, we discuss recent progress on delivery as well as current applications for miRNAs as therapeutic agents.

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50

Marra, Pedro Silva, and Felipe Trotta. "Sound, music and magic in football stadiums." Popular Music 38, no. 01 (2019): 73–89. http://dx.doi.org/10.1017/s0261143018000727.

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AbstractThis article discusses the role of music performance in football matches, highlighting the importance of the belief in its sonic powers as a trigger for causal relations between events. Music functions as a communicational axis linking the physical realm to mystical or intangible dimensions. By performing music and sounds on terraces, fans believe that they can change the course of the match, interfering in the mood, the bodies and, eventually, the result. Magic is a shared belief among fans, players and journalists, one that is activated through sounds and rituals. In football, the id

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