Popular music often seems alien to literature's formal explorations and concerns. Existing studies on literature and pop music have mostly focused on ideological and political aspects derived from plot elements, but have discounted the possibility of technical or compositional influence. One may wonder what trace, if any, this ubiquitous music has left, besides being present or mentioned in the storyline. Has it provided literature with any significant narrative models? These are the questions that this article tries to answer. To do so, I first introduce the relevant framework of music and literature studies, propose the notion of a musical superstructure, offer a definition and elaborate on its main features, and then refer to several literary works where it can be found. Finally, I expand on the main narrative consequences that using a musical superstructure may have, such as lacking a sense of direction, restarting the story with each chapter, or infusing structure and form with the thematic concerns that a novel addresses. Rooted firmly in previous studies in music and literature, the idea of "musical superstructure" is a novel tool for understanding pop music within literary fiction, binding together rich and diverse structural models that literature has developed and will keep expanding upon.

流行音乐似乎与文学的正式探索和关注点格格不入。现有的文学和流行音乐研究主要集中在源自情节元素的意识形态和政治方面，但忽视了技术或作曲影响的可能性。人们可能想知道，除了在故事情节中出现或提及之外，这种无处不在的音乐还留下了什么痕迹（如果有的话）。它是否为文学提供了任何重要的叙事模型？这些是本文试图回答的问题。为此，我首先介绍了音乐和文学研究的相关框架，提出了音乐上层建筑的概念，给出了定义并阐述了其主要特征，然后参考了一些可以找到它的文学作品。最后，我扩展了使用音乐上层建筑可能产生的主要叙事后果，例如缺乏方向感，每章重新开始故事，或者将小说所解决的主题问题注入结构和形式。“音乐上层建筑”的思想扎根于以往的音乐和文学研究，是理解文学小说中流行音乐的一种新工具，它将文学已经发展起来并将继续扩展的丰富多样的结构模型结合在一起。