- Wednesday,
- January 9
|
- A couple of practical items:
- Please forward your FSU e-mail, if
needed.
- Post a message on the discussion board
so I know you have access to Blackboard
- Reading:
- Libretto for Show Boat (available
online)
- Questions for discussion:
- Show Boat
was extraordinarily different from previous musicals. What topics
does it address that might have seemed too serious for a musical
in 1927?
- Some Show Boat revivals have
inspired protests of racism. Is this a racist show?
|
- Friday,
- January 11
|
- Listening:
- Show Boat
through Act I, scene 2 ("Can't Help Lovin' Dat Man")
- Questions for discussion:
- What is the significance of "Can't
Help Lovin' Dat Man" in the context of the show? What clues
in Kern's music (in this song and the music immediately surrounding
it) might help a musically astute listener guess Julie's secret?
|
- Monay,
- January 14
|
- Listening:
- Show Boat
through the end of Act I, plus "Why Do I Love You?"
from Act II
- Questions for discussion:
- Do Magnolia and Ravenal have a real
love song? If so, which song is it?
- How do their duets (whether or not
they qualify as love songs) portray their relationship?
|
- Wednesday,
- January 16
|
- Reading:
- Block, Enchanted Evenings,
Chapter 2
- Listening:
- Through Act II, scene 5 (reprise of
"Can't Help Lovin' Dat Man")
|
- Friday,
- January 18
|
- Listening:
- Show Boat
through the end of Act II, plus Overture
- Turn in:
- Worksheet
- Question for discussion:
- How does Show Boat's overture
set the mood for the show?
|
- Monday,
- January 21
|
- Martin Luther
King, Jr. Day - no class
|
- Wednesday,
- January 23
|
- Reading:
- Liliom,
the play upon which Carousel was based (available online)
- Libretto for Carousel (available
online)
- Listening:
- Carousel Waltz
- "You're a Queer One, Julie Jordan"
- "When I Marry Mr. Snow"
- Questions for discussion:
- What changes did Hammerstein make
to Molnár's play, and why do you think he made them?
- What is the sonic image of the Carousel
Waltz? What musical features contribute to this effect?
|
- Friday,
- January 25
|
- Reading:
- Block, Enchanted Evenings,
Chapter 8
- Listening:
- Bench scene (including "If I
Loved You")
- "When the Children are Asleep"
- Turn in:
- Worksheet
- Questions for discussion:
- How does Rodgers combine speech and
music in the bench scene?
- How does the bench scene portray Julie,
Billy, and their relationship?
|
- Monday,
- January 28
|
- Listening:
- Billy's Soliloquy
- Turn in:
- Worksheet
- Question for discussion:
- How does music contribute to the drama
of Billy's soliloquy?
|
- Wednesday,
- January 30
|
- Listening:
- "Stonecutters Cut It on Stone"
- "What's the Use of Wond'rin'?"
- "You'll Never Walk Alone"
- Question for discussion:
- What different views of interpersonal
relationship do we get in these songs?
|
- Friday,
- February 1
|
- Listening:
- Louise's Ballet
- Porch Scene
- Turn in:
- Worksheet
- Note: I am unaware of any recordings
that do not make significant cuts to this ballet, but it's still
helpful to listen to a recording
and especially to watch a video.
- Question for discussion:
- How does Louise's ballet convey her
life and/or Billy's thoughts?
|
- Monday,
- February 4
|
- Listening:
- "A Real Nice Clambake"
- "June is Bustin' Out All Over"
- "Blow High, Blow Low" (and
Hornpipe)
- Question for discussion:
- The chorus gets quite a bit of music
in this show. Beyond pure entertainment, what purpose does it
serve?
|
- Wednesday,
- February 6
|
- Reading:
- "Our Heroine" from Michener's
Tales of the South Pacific, the primary story upon which
South Pacific was based (available online)
- Listening:
- "Bali Ha'i"
- Turn in:
- Worksheet (analysis of "Bali Ha'i")
|
- Friday,
- February 8
|
- Reading:
- Libretto for South Pacific
(available online and on reserve)
- Listening:
- "Cockeyed Optimist"
- "I'm Gonna Wash That Man Right
Out-a My Hair"
- "I'm in Love with a Wonderful
Guy"
- Questions for discussion:
- What changes did Hammerstein make
to Michener's "Our Heroine"?
- What impression do we get of Nellie
through her music? (Consider in particular how she is differentiated
from Emile.)
|
- Monday,
- February 11
|
- Listening:
- "Some Enchanted Evening"
- "This Nearly was Mine"
- Turn in:
- Worksheet (analysis of "This Nearly was Mine")
- Question for discussion:
- What impression do we get of Emile
through his music? (Consider how he is differentiated from all
other characters.)
|
- Wednesday,
- February 13
|
- Listening:
- "Bloody Mary"
- "There is Nothing Like a Dame"
- "Honey Bun"
- Questions for discussion:
- In your opinion, is it problematic
that Nellie and Emile have such different styles? Does it matter
that the origins of this situation may have been purely practical?
|
- Friday,
- February 15
|
- Reading:
- "Fo' Dolla'" from Michener's
Tales of the South Pacific, the secondary story upon which
South Pacific was based (available online)
- Listening:
- "Younger than Springtime"
- "Happy Talk"
- Questions for discussion:
- How does Hammerstein's character Liat
differ from Michener's character Liat? Do these contrasts change
your impression of Liat's relationship with Joe?
|
- Monday,
- February 18
|
- Reading:
- Most's article "You've Got to
Be Carefully Taught" (available online)
- Listening:
- "You've Got to Be Carefully Taught"
- "My Girl Back Home" (available
online)
- Questions for discussion:
- Is South Pacific unintentionally
racist?
- Which of Most's points do you find
especially strong? Which, if any, do you question?
|
- Wednesday,
- February 20
|
- Reading:
- Synopsis for Guys and Dolls
- Guys and Dolls libretto (available online) pages 1-21
- Listening:
- "Fugue for Tinhorns"
- "Follow the Fold"
- "The Oldest Established"
- Question for discussion:
- How do the first few songs of this
show characterize the missionaries and the gamblers?
- Why is the Save-A-Soul Mission not
very successful?
|
- Friday,
- February 22
|
- Reading:
- Guys and Dolls libretto pages 22-36
- Listening:
- "I'll Know"
- "Bushel and a Peck"
- "Take Back Your Mink"
- Turn in:
- What not-so-subtle messages are we
getting in "I'll Know"?
- Are there any additional less blatant
messages?
- Questions for discussion:
- How does Adelaide's music convey her
status?
- Both Sarah and Sky have contrametrical
triplets in "I'll Know." Do these indicate, as Block
often suggests, that they are at odds with society?
|
- Monday,
- February 25
|
- Reading:
- Guys and Dolls libretto pages 37-63
- Listening:
- "Adelaide's Lament"
- "Guys and Dolls"
- "If I Were a Bell"
- Turn in:
- What makes "Adelaide's Lament"
funny? Please be specific, addressing both the lyrics and the
music.
- Question for discussion:
- How has Sarah's music evolved over
the course of the show so far?
|
- Wednesday,
- February 27
|
- Reading:
- Guys and Dolls libretto pages 64-93
- Listening:
- "My Time of Day"
- "I've Never Been in Love Before"
- "Luck be a Lady"
- Viewing:
- Clip from 1955 film version of Guys
and Dolls
- Turn in:
- How is music used in the film version
of Guys and Dolls? Please indicate where and how familiar music
from the stage version is used, and also where new music is introduced.
- In the stage version, how sincere
does Sky seem to you when he and Sarah return from Havana? What
influences your opinion of him?
- Question for discussion:
- How does "Luck be a Lady"
convey the dramatic situation?
|
- Friday,
- March 1
|
- Reading:
- Guys and Dolls libretto pages 94-116
- Listening:
- "Sue Me"
- "Sit Down, You're Rockin' the
Boat"
- "Marry the Man Today"
- Questions for discussion:
- How is Nathan and Adelaide's argument
portrayed musically in "Sue Me"?
- What musical style is "Sit Down,
You're Rockin' the Boat" probably meant to suggest?
- Judging from "Marry the Man Today,"
how do you interpret Adelaide and Sarah's attitude or frame of
mind at this point?
|
- Monday,
- March 4
|
- Listening Exam
#1 (a sample excerpt is provided
on the recording page)
|
- Wednesday,
- March 6
|
- Reading:
- Synopsis for My Fair Lady
- Pygmalion,
the play upon which My Fair Lady was based (available
online)
- Listening:
- "I Could Have Danced All Night"
- "On the Street Where You Live"
- "Wouldn't It Be Loverly?"
- "The Rain in Spain"
- Question for discussion:
- What oppositions are central to this
show's plot?
- If you were writing a term paper on
My Fair Lady, what questions might be worth exploring?
- Inform me in writing (e-mail is fine)
of the show you will address in your final project and your preferred
presentation date (see information
sheet).
|
- Friday,
- March 8
|
- Reading:
- My Fair Lady
libretto (skim; it's largely taken directly from Shaw)
- Listening:
- "Why Can't the English?"
- "With a Little Bit of Luck"
- "Ascot Gavotte"
- "Get Me to the Church on Time"
- Question for discussion:
- How does this music convey some of
the show's important oppositions?
- What are some similarities and differences
between this musical, Shaw's play Pygmalion, and the Greek
myth about Pygmalion?
|
- March 11 -
- March 15
|
Spring
Break |
- Monday,
- March 18
|
- Listening and analysis (individuals
listed have primary and secondary responsibility, respectively):
- "Just You Wait" -- Kensley
and Chris
- "Without You" -- Asher and
John
- "Show Me" -- Hayley and
Kensley
|
- Wednesday,
- March 20
|
- Listening and analysis (individuals
will be assigned primary responsibility):
- "I'm an Ordinary Man" --
Chris and Asher
- "Hymn to Him" -- John and
Hayley
- "I've Grown Accustomed to Her
Face"
- Questions for discussion:
- Is this show sexist?
|
- Friday,
- March 22
|
- Reading:
- Libretto for The Most Happy Fella
(contained in score)
- Listening:
- The Most Happy Fella, Act I, scenes 1 and 2
- Questions for discussion:
- Numerous musical styles are heard
throughout this show (very different types of songs and recitative).
Identify some of these different styles and be able to summarize
what is different about them.
- How does the music associated with
Tony's letter predispose us to like him?
|
- Monday,
- March 25
|
- Listening:
- The Most Happy Fella, Act I, scenes 3 and 4
- Although you should listen all the
way through these scenes, you'll notice that some songs are quite
repetitive. We will focus less on these for obvious reasons.
Invest more time on the songs that begin "Well, here we
are" and "Don't cry."
- Questions for discussion:
- As before, identify some of the distinct
musical styles we hear in these scenes. Why are these different
styles used?
- Some musical themes or motives in
these scenes were first heard somewhere else (either in a previous
scene or as underscoring in these scenes). Identify at least
three of these themes or motives and indicate what meaning they
seem to convey.
|
- Wednesday,
- March 27
|
- Listening:
- The Most Happy Fella, Act II, prelude and scene 1
- Questions for discussion:
- How does the prelude begin, and why
is this reference appropriate for the upcoming scene?
- What ethnic identity is suggested
by "Fresno Beauties" (and what are these Fresno beauties)?
- What other song from this scene stands
out because of its musical style, and why do you think this style
is appropriate?
- Turn in:
- How does the music contribute to the
dramatic effect of "Cold and dead"? (You may also wish
to address aspects of performance, but be careful not to neglect
the composition itself.)
- The music in "I don't like this
dame" is also quite interesting. How does Loesser use music
to represent and/or clarify the drama?
|
- Friday,
- March 29
|
- Listening:
- The Most Happy Fella, Act II, scenes 2, 3, and 4
- Questions for discussion:
- With the exception of "Warm All
Over," scene 3 is united by a single theme. What helps keep
the music interesting despite the repetition?
- What happens during the thematically
unified portions, and why do you think Loesser wanted to maintain
the same music?
- Turn in:
- "How Beautiful the Days"
is quite unusual for a musical. Why are all of these characters
singing together? How does Loesser make sure we can understand
what they're saying?
|
- Monday,
- April 1
|
- Listening:
- The Most Happy Fella, Act II, scene 5; Act III through "Song
of a Summer Night"
- Questions for discussion:
- In scene 5, locate at least three
melodies or motives that were prominent earlier in the show.
- Tony is now out of his wheelchair,
but still limping very badly. How does Loesser portray this musically?
- What is the source of Cleo's music
in measures 209-237 of Act III?
|
- Wednesday,
- April 3
|
- Listening:
- The Most Happy Fella, remainder of Act III
- Questions for discussion:
- How is the train depicted musically?
(There are both obvious and less obvious ways.)
- What important song contains a prominent
motive that is used (in a slightly different context) in the
orchestral outbursts during "Please Let Me Tell You"?
- What previous song is (in a general
sense) most comparable to the music in measures 133-191, and
what is similar about it?
- Turn in:
- A lot of previous music is
quoted in Act III, scene 2. Identify all of it as specifically
as possible (both the source and the measures in which it is
quoted or paraphrased).
|
- Friday,
- April 5
|
- Music Theory Southeast
meets in Boone, NC -- no class
|
- Monday,
- April 8
|
- Listening/Reading:
- West Side Story, through "Maria"
- Questions for discussion:
- "Maria" is perhaps the most
popular song in the whole show. What is so interesting and/or
appealing about it?
- Turn in:
- How do music and lyrics (be sure to
address both) portray the gang members in "Jet Song"?
- Find at least one motivic connection
between "Something's Coming" and "Maria."
|
- Wednesday,
- April 10
|
- Listening/Reading:
- West Side Story, through "One Hand, One Heart"
- Questions for discussion:
- What in the script sets up the song
"America?"
- Identify some elements of "America"
that sound distinctly Hispanic (although perhaps not specifically
Puerto Rican).
- How does Bernstein bring out Sondheim's
foreshadowing of Tony's death in "One Hand, One Heart"?
|
- Friday,
- April 12
|
- Research:
- 2009 bilingual production of West
Side Story
- History of protests against West
Side Story
- Questions for discussion:
- What was the initial inspiration for
re-writing parts of the show in Spanish?
- Which portions were translated, and
how was this decided?
- How did the public react to the idea
(and/or the reality) of a semi-Spanish production?
- Why has this show occasionally been
protested over the years?
|
- Monday,
- April 15
|
- Listening/Reading:
- West Side Story, through "Somewhere"
- Questions for discussion:
- What is the form of "I Feel Pretty"?
- What does the ballet music (etc.)
around "Somewhere" convey about Tony and Maria's situation?
- Turn in:
- We heard "Tonight" as a
duet earlier, but quintet version is quite different. What is
the dramatic purposes of the quintet? What does the music tell
us about various characters and their relationships?
|
- Wednesday,
- April 17
|
- Listening/Reading:
- West Side Story, through end
- Questions for discussion:
- What is the dramatic importance of
"A Boy Like That" (i.e., how does it fit into the plot)?
- What is the practical purpose of "Gee,
Officer Krupke"?
- How optimistic (or pessimistic) do
you find the ending?
- Compare the last few measures of the
stage version and the film version. What is the difference?
|
- Friday,
- April 19
|
- Viewing:
- Watch major dance numbers from West
Side Story (some available online)
- Research:
- Jerome Robbins
- Questions for discussion:
- What is so remarkable about the choreography
in West Side Story?
- In this show, what does dancing convey
that perhaps the music cannot? What does the music convey that
perhaps the dancing cannot?
- Reminder: this is the last day to
submit a draft of your project if you want feedback on the complete
paper. (You are still welcome to submit small portions of the
paper for feedback after this date.)
|
- Monday,
- April 22
|
- Listening Exam
#2
|
- Wednesday,
- April 24
|
- Student presentations; see information
sheet.
- Chris
- Hayley
|
- Friday,
- April 26
|
- Student presentations, continued
- Kensley
- Asher
- John
|
- Wednesday,
- May 1
|
Final
project due by noon. See information sheet. |