ABSTRACT
M u s i c does not tend to figure greatly in works of f ict ion, having innately an indefinable, unquantifiable quality which resists intellectual analysis or understanding. O f course, writers refer to music, specific pieces, or songs to evoke a sense of period where required, or to suggest a particular mood. The success of this relies upon the reader's familiarity with the music, and there is an element of risk involved, since the author cannot be whol ly confident that the reader w i l l recognize the reference or more crucially, share the author's response to it.
