Posts Tagged lifetime

The Undercover Soundtrack – Gwendolyn Womack

for logo‘Somewhere in time’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold  a moment still to explore its depths. This week’s post is by supernatural historical thriller writer Gwendolyn Womack @Gwen_Womack

Soundtrack by Arvo Part, Paul Horn, Philip Glass, Gabrielle Roth & The Mirrors, Reiki Tribe, John Barry

I’ve always found music to be a wonderful tool while writing. Sometimes I will search for hours to find the perfect song to write a particular scene before I can begin. After I find the right music, I will loop it for days, sometimes weeks. And I’ve found I cannot write while listening to any lyrics. It must be instrumental or else it is distracting.

GwendolynWomack2015_BioPixWhen I first began writing The Memory Painter years ago I did not think to make note of all the music I was listening to, so this is only a list of the highlights. For readers who are not familiar with the book, The Memory Painter is a supernatural historical thriller about a group of neuroscientists who have unlocked the secret to reincarnation and a love story about a two lovers who have traveled through time to remember an ancient legacy. The novel spans a lot of history and many of the chapters are devoted to specific lifetimes. Here are a few of the time periods and the music that inspired the writing…

Cremona Italy, 1700s

There is a special lifetime that deals with the famous violinmaker Guarneri ‘del Gesù’, and for this I played one song repeatedly: Spiegel im Spiegel (Mirror in Mirror) by Arvo Pärt. I would actually loop the YouTube video of Anne Akiko Meyers playing del Gesù’s Vieuxtemps violin. The song is incredibly poignant and it was just perfect for writing those scenes. Hearing Guarneri’s violin being played while I was trying to imagine his life was invaluable.

China 6TH century AD

Another album is 80 minutes of Reiki Music by Reiki Tribe and it’s filled with Asian flutes and Tibetan bells. I listened to it primarily while writing the Bodhidharma lifetime, the Zen master who trained the Shaolin monks. I literally plugged the search term ‘Tibetan bell music’ into iTunes and spent hours listening to sample tracks before deciding on this particular collection. Many of the songs felt very transportive and helped create the mental space to write the lifetime of a Zen Buddhist monk.

Ancient Egypt 10,000BC

Just listening to Inside The Great Pyramid by Paul Horn was the time capsule I needed to get my imagination in ancient Egypt where the climax of the novel takes place, and I wrote all of the chapters listening to it. This special album came out in the 1970s. Paul Horn went to the Great Pyramid and recorded the music inside the King’s Chamber. There have been acoustical studies on the King’s Chamber because of its incredible reverberation capability. This music really is quite something.

Present day and 1980s

Philip Glass’s album Glassworks was perfect music to write to, particularly track 1, and I played this album a lot throughout writing the entire novel. The mathematical harmonies within the songs and the heartrending melodies were a perfect backdrop.

Gabrielle Roth & The Mirrors’ album Totem was another go-to album that I looped repeatedly, particularly tracks 1-3. Totem has a driving rhythm and mystical feel and in general simply helped me to focus and write. I actually went to write a letter to Ms. Roth to tell her what I fan I was of the album because I was listening to it so much, but I found she had passed away in 2012. So instead I ended up spending the afternoon reading about her life and the legacy she left behind with 5Rhythms and I bought one of her books, Maps to Ecstasy, which is a fascinating read about her journey and the power of meditative dance. So that was a surprise veer one afternoon, researching the artist I was listening to and becoming inspired in other ways.

Memory Painter_JacketI also played several tracks from the soundtrack to Somewhere In Time, music by John Barry. It’s a favorite movie of mine and I’ve had the soundtrack well over 20 years. Several of the songs are so lovely and again poignant (a running theme perhaps in some of the music I chose). Many scenes in the book were written with this music.

Those are the main songs behind The Memory Painter that easily come to mind. For the current novel that I’m working on, I am keeping a more detailed account because it is fun to look back at what inspired you along the way. My current playlist is numbered with some incredible music that is filling my ears at the keyboard and helping the story come to life.

Gwendolyn Womack grew up in Houston, Texas. She studied theatre at the University of Alaska, Fairbanks, and then moved to California to pursue an MFA in Directing Theatre, Video, and Cinema at California Institute of the Arts. She lives in Los Angeles with her family. The Memory Painter is her first novel. Find her on Twitter as @Gwen_Womack, on Facebook and on her website.

 

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The Undercover Soundtrack – Stephen Weinstock

for logoHidden forms that tell a story

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is theatre composer and debut fantasy novelist Stephen Weinstock @s_weinstock

Soundtrack by Frank Zappa, Igor Stravinsky, Stephen Sondheim, Alban Berg

I greatly admire Roz Morris’s wonderful combining of writers and their musical minds. I am excited to contribute because I am a composer, pianist, and dance accompanist who crossed over to write a fantasy series called 1001: The Reincarnation Chronicles. Before writing every day, I devise a playlist that is an eclectic mix of styles, and I wanted to explore how this music affects my writing. But no song expresses a character; no instrumental sets a scene in my book. So why listen to music when I write?

From scene to song

headshot bestOf course music plays a part in Book One of 1001: The Qaraq – a group of souls who travel together from lifetime to lifetime. In each chapter, one of the qaraq members recalls a past life story; the present day action acts as a mainframe to enter into the memory, like the Scheherazade framing tale device in The Thousand and One Nights. Having worked in musical theater, I channel the techniques used for moving from a spoken scene in and out of a song to accomplish this shift. And some of the tales involve music: one character remembers his incarnation as Vaalat, an East African mallet instrument called a xalafon, which transfixes its audience.

On reflection, I realize the main influence music has on my writing is through the idea of hidden forms. As a composer, I love complex structural devices that we don’t hear in the music, but which shape the score. This love inspired me to construct 11 hidden structures that unify the 1001 series. Here are four examples, along with musical samples of corresponding hidden forms.

Past in the present

1. Embedding a past life story into each chapter is not so hidden, but it’s not obvious reading the first book that there will be 1001 chapters and 1001 lifetimes in the series, God help me! Frank Zappa, master musical parodist, loved to embed famous pieces of music into otherwise pop sounding tunes. In Status Back Baby, a bubble-headed high school kid’s lament is interrupted (at 1:27) by an electric quotation of the opening of Stravinsky’s ballet score Petrushka, then, with a cheerleader’s whistle, the jaunty song returns, mocked by the juxtaposition of kitsch and class.

Zappa, an incredible guitar virtuoso, could also be lyrical and breathtaking, with hidden rhythmic complexity, such as the beautiful Watermelon in Easter Hay.

Motifs

2. In a score, motifs or longer melodies can recur in obvious or subtle ways. In Stephen Sondheim’s musical Passion, a motif is varied incessantly, to represent the character Fosca’s obsessive, neurotic nature. In Fosca scene, we first hear it at 2:13, and it then snakes its way throughout the scene. Similarly, for each of my central characters, I reiterate a set of traits, a gesture, and a literary voice in all their incarnations. Ooma, the sexy, troubled present day incarnation of the orgy-driven Queen of the Scheherazade tale, recalls her lifetimes in a haunted stream of consciousness. Sometimes I want these tropes to help identify the central character in the incarnation; sometimes they are hidden and just help me create the character. Sahara, the main character, likes to play with her hair: in 17th Century France, we recognize her as she curls a lock of hair around her finger; but in the Ediacaran Era, she is disguised as a two-inch organism with filaments that wave in the waters on the sea floor.

Hidden forms

3. The great master of the hidden form was Alban Berg, the Viennese composer whose opera Wozzeck rejected conventional structures like arias and duets. Berg composed each scene of this story, about an oppressed soldier who descends into madness, around a particular structure supporting the dramatic action, some old forms like fugue or march, others more abstract, like the inventions of the last act. In Wozzeck, III, 2, when Wozzeck murders his wife Marie, the hidden form of Invention on a Single Tone reveals itself (at 4:45) with a chilling crescendo. In Wozzeck, III, 4, the Invention on a Hexachord accompanies Wozzeck’s drowning (circa 3:00) as the chord washes up and down in the orchestra. Creepy brilliance.

Influenced by Berg’s superimposition of forms onto a narrative, I placed in each past life story a hidden reference to one Arabian Night. The Thousand and One Nights contains parts of stories; remember that Scheherazade interrupts her storytelling every morning to save her head, so each night she tells only part of a tale. In my writing process, I use the Nights references to add local color or suggest a character’s inner thoughts. At times I lift a whole plot line to guide a past life tale: the magical roukh from Sinbad flies in and out of the qaraq’s mythic memories of their lives on the Red Isle.

frontcoverBackwards

4. Despite Stravinsky’s revolutionary status, he also followed Berg’s lead and used hidden techniques like retrograde, where you take a sequence and use it backwards, or the palindrome, where a sequence is the same forwards and backwards (Madam I’m Adam, or, qaraq!). In his opera The Flood, Stravinsky depicts the deluge structurally as a palindrome (at 2:33): the seas rise with orchestral tremolos for the storm, then the music retrogrades with the receding of the waters. In 1001, the chronological order of the past lives presented in the series is a karmic palindrome. The first 500 lifetimes create issues among the characters, and the last 500 are the karmic consequences, resolved in retrograde order. If the incarnation in lifetime #251 murders incarnation #252, then in lifetime #750, the victim forgives the murderer’s incarnation #751. That’s a hidden form!

If you haven’t stopped reading and called my local asylum to come fetch me immediately, I hope you might be excited to go hunting for hidden forms, or even use them in your work. They help generate ideas you’d never think of otherwise, and at the very least they have a subconscious effect on the reader. Maybe that’s how my daily playlist influences my writing; it’s a hidden form working on a subconscious level. An Undercover Soundtrack!
Stephen Weinstock is the author of 1001: The Reincarnation Chronicles. You can find more information on the series, more articles on writing, music, and reincarnation, and links to online tales here . Find Stephen on Facebook and email: drstephenw@comcast.net. 1001 will be an 11 book series, contain 1001 chapters and past lives, and take the rest of Stephen’s life to complete. Musically speaking, Stephen worked for years as a composer in the theatre. He won his 15 minutes of fame for the experimental sound-theatre work Mt. Quad at San Francisco’s Magic Theater, developed and team taught the first curriculum for opera/musical theatre writing at New York University, and created music for dancers at the Martha Graham School of Dance, Juilliard, and LaGuardia Arts HS (the ‘Fame’ School), where he continues to bring young dancers to physical, emotional, and spiritual ecstasy every day. Find him on Twitter as @S_Weinstock.

SHORT BREAK The Undercover Soundtrack will take a short break but will be back in a couple of weeks.

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