The Fredösphere

Kyle Gann writes of Karl-Birger Blomdahl's science fiction opera Aniara, a surprisingly early (1959) attempt to merge these two disparate art sensibilities.  Blomdahl employs a wedge-shaped 12-tone row:

[T]ruth be told, there's something about science fiction, this "woo woo we're in outer space" feeling, that makes the discomforting 12-tone idiom ring more plausibly. In addition, the chromatic aura is cut by and blended with two other idioms. One is a kind of Swedish outer-space bebop that attends the "Yurg" cult around Daisi Doody - by which I mean that it doesn't sound like Blomdahl's trying to write bebop, only that he's created a hybrid music indebted to it. The other idiom is the electronic music used for various sequences, such as when the computer-like being Mima is transmitting images of the Earth destroying itself.

(Daisy Doody is a character in the opera, an entertainer aboard a ship adrift among the stars.)

There seems to be a trend:

In fact, one of the first things I did in Europe was to visit the American expatriate composer Wayne Siegel in Aarhus, Denmark, who teaches electronic music at the Royal Conservatory. (My profile of him just appeared in Chamber Music magazine.) And Siegel played for me excerpts of his own science fiction opera, Livstegn, or "Signs of Life" (1993-94), about a scientist plunged into a personal crisis by his unexpected discovery of intelligent life on one of Jupiter's moons.

Folks, we need to band together and smother these infants in their cradles.  We've got to shut down all news, all discussion; let the world forget these works were ever written.  Why?  Because I want to write my own space opera and I want to preserve the illusion that I got there first.  I also want to use the title Space Opera and pretend nobody else ever thought of it.

Indeed, I've been neglecting this blog lately as I give some attention to science fiction.  My latest project is a choral work which I've decided to combine with a science fiction story which will have the same title and theme.  I've progressed enough on the story that I'm sure at least it won't be a train wreck, so I'll start mentioning it now.  I'll still withhold the details (even from the Wifeösphere!) because I think it best to externalize my plans by implementing them, not talking about them.

I'm having fun with the gang over at Starship Sofa, an SF podcast.  Those craving to hear my voice should download this week's episode, wherein I play celebrity guest and explain why Flowers For Algernon left me wanting less.  (The novel is a favorite of host Tony C. Smith.)  I'm also an occasional contributor to the group blog there, and I've served a stint as a reader of stories for the podcast; I may continue if I decide I'm willing to put in the time required to prepare properly (which is a lot).

Finally, have a peek in here:  forget the giant face; scientists have found a secret doorway on Mars!

Labels: Composition, sci-fi