Contemporary Music - Broadway Musicals

Broadway Musicals

Musical theatre has been a staple in American culture since the beginning of the twentieth century. In the early 1900’s, Broadway shows consisted of 10-15 vaudeville acts and large choruses of singers and dancers. One of the most popular Broadway shows during this time was the Ziegfeld Follies, starring popular performers such as Fanny Brice. The most popular songs during this time period were Broadway show tunes. Composers such as Cole Porter, Irving Berlin, and George Gershwin dominated “Tin Pan Alley,” a term used to describe the music industry in New York City in the early 1900’s.

 

In 1943, the forward thinking creative duo Richard Rogers and Oscar Hammerstein II completely changed the format of musical theatre to what we understand as a musical today. Oklahoma was the first musical to have one plot throughout the entire show. Based off of Lynn Riggs’s play Green Grow the Lilacs, Oklahoma had many hit songs, such as the title song, “Oh What a Beautiful Morning,” “The Surrey with the Fringe on Top,” and “People Will Say We’re in Love.” The Broadway cast album sold very well and the show ran for an impressive 2,248 performances, which was unheard of at the time. Here is a performance of “Oh What a Beautiful Morning,” featuring Hugh Jackman.

 

Nowadays, Broadway musicals are not as popular as they were in the 1900’s. In the 21st century, there is a dedicated niche audience that avidly consumes and participates in musical theatre. The contents that make a Broadway musical popular are forever changing. For example, composer Robert Lopez has written many controversial comedic Broadway musicals. In 2003, Lopez wrote Avenue Q with Jeff Marx. This musical is a parody of the children’s show, Sesame Street.  The musical has adult puppets as the characters, with some real humans added in too.  When the musical first opened, nearly half of the audience left before it ended because they felt the show was too inappropriate. Here is the opening song to Avenue Q, “It Sucks to be Me.”

A similar musical is The Book of Mormon, written by Robert Lopez, Trey Parker, and Matt Stone. Stone and Parker are known for creating South Park, a comedic television show. This musical is satirical of the Mormon religion. While it won many Tony Awards, a high honor for Broadway musicals, it also offends many people. Here is a number from the show called, “I Believe.”

 

  

While Broadway shows can sometimes ostracize social groups, Broadway can also be a safe haven for subcultures. For example, the musical Priscilla, Queen of the Desert focuses on the journey of two drag queens and a transgender woman as they take a road trip across Australia. Along the road, they encounter bigotry and hatred, but gain a better sense of who they are as individuals and make strong friendships. Here is a sample of the casts’ performance at the Tony Awards.

Another musical that focuses on individuality is Billy Elliot. Billy Elliot is a 11 year old British boy who learns that he has a talent for ballet dancing. Unfortunately, his father and many of those around him do not approve of his new talent. Billy faces discrimination for doing what he loves, to dance. Ultimately, he overcomes the diversity he faces and begins to study what his passion truly is.

Broadway shows allow audiences to be transported to different worlds. They contain themes that many audiences can connect with, such as diversity and individuality. They can also provide comedic escapism entertainment. Musical theatre is a genre that has existed for over a century, and will continue to thrive in the future because of its flexibility and ability to appeal to audiences.

Works Cited

 

"Avenue Q.” Wikipedia. Wikimedia Foundation, n.d. Web. 13 Dec. 2015.

"Billy Elliot the Musical.” Wikipedia. Wikimedia Foundation, n.d. Web. 13 Dec. 2015.

 

"The Book of Mormon (musical)." Wikipedia. Wikimedia Foundation, n.d. Web. 13 Dec. 2015.

 

Broadway: The American Musical. Dir. Michael Kantor. PBS, 2012. DVD.

 

"Fanny Brice." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 13 Dec. 2015.

"Priscilla, Queen of the Desert (musical)." Wikipedia. Wikimedia Foundation, n.d. Web. 13 Dec. 2015.

 

"Richard Rodgers." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 13 Dec. 2015.

"Tin Pan Alley.” Wikipedia. Wikimedia Foundation, n.d. Web. 13 Dec. 2015.

 

"Vaudeville." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 13 Dec. 2015.

Contemporary Music - Recordings vs. Performances

Recordings vs. Performances

Nowadays, popular music is delivered to audiences in two main formats: recordings and performances. In this essay, the aesthetics of these elements will be examined to see what audiences and performers enjoy.

Aesthetics in Recording

A common feature of modern pop music is enhanced vocals through technology, such as Auto-Tune. The proliferation of Auto-Tune in pop music has forced artists to use the technology even if they have the talent to not do so. For example, Ke$ha claims that she, “…really can sing. It’s one of the few things I can do” (Anderson). Yet, this might not be true, as shown by this video:

 

https://youtu.be/GVjy2zyQ7Oo

 

Perhaps, artists use correcting software because they are insecure about their voice. Music editor Larry Crane believes that, “…lots of artists are basically insecure about their voices, and use Auto-Tune as a kind of protective shield” (Anderson). Not only could it be artists’ security blanket, but it could also be a tool to make singers more appealing to audiences. With so many artists using Auto-Tune, artists could feel “peer pressure” to use the tool themselves. For example, the acapella group Pentatonix has recently released an album full of original songs. Previously, they focused on covers of other popular songs. Their goal is to be featured on the radio, so they are trying to appeal to a broader audience. Listen to this song from their new album. Notice how they use digital effects to enhance their voices, straying from the normal aesthetics of live acapella singing:

 

https://youtu.be/DFCxiKXtKTI

 

For comparison, here is a video of Pentatonix singing live. Notice how they have a pleasing sound without using digital effects:

 

https://youtu.be/FQHI9KHghpc?t=39m20s

  

Groups like Pentatonix now crave the sound that digital effects create on their recordings. Yet in performance, aesthetics are vastly different from their recordings.

Aesthetics in Performance

Live performances have been the only source of entertainment for hundreds of years, until around the late 19th century.  Live performances were the only way people could listen to music and avidly enjoy it.  Over the last hundred years live performances have changed drastically.  For example here is Frank Sinatra singing “Come Fly with Me” live:

https://youtu.be/SLC5AGGHLz0

This performance is genuine, still possesses Sinatra’s style, and great vocals.  In the 1950s musicians could stand on stage and sing, there was no need for big light shows and loud noises.  However, 30 years later in the 1980s performance aesthetics already were beginning to change.  In this video Queen is signing “Bohemian Rhapsody” live:
  

https://www.youtube.com/watch?v=oozJH6jSr2U.  

In Queen’s performance the values of amazing vocals is still held in high regard, concerning the instrumentalists they all contributed by mastering their craft.The guitar playing in this performance has a flawless ease to it, that we know is truly not an easy task.  And yet, their performance still has amazing flare and is highly entertaining.  This performance was in 1986 which was almost 20 years from when the band originally was formed and they're still rocking, literally.  Now another 30 years later the music industry has changed even more, such as how people entertain, and possibly what they sacrifice to do that.  Many times while watching videos of live performances, or when one goes to a live performance there is sometimes a big lack in the vocal department.  While a loud, big entertaining show is happening all around, the vocals usually suffer because of it.  Such as when watching the Video Music Awards put on by MTV or the American Music Awards many artists will fall flat usually or be extremely breathy.  However, some artists kill it on stage and give all that they have, such as Pink, who can do crazy acrobatics and yet still sing in tune and with enough breath support to still sing well:

https://youtu.be/mY_rbzS2RPc?t=12s

Pink says in an interview that she takes her craft very seriously and believes you have to give it your all as a performer:

https://youtu.be/qTSKSKdcOH4?t=32s

Pink has remained highly respected in her field for so long because of this, she is an artist who has crossed the many decades.  Maybe, more upcoming artists should take a look at performance ethic and nurture this secret of entertaining.

Logan Kropp wrote about recordings. Sierra Marsh wrote about performances.

Works Cited

 

Anderson, Lessley. "Seduced by 'perfect' Pitch: How Auto-Tune Conquered Pop Music." The Verge. Vox Media, 27 Feb. 2013. Web. 04 Dec. 2015.

Mozart - Week 3

Mythbusters: Mozart Edition

Throughout history, there have been many speculations about Wolfgang Amadeus Mozart’s life.  The dissemination of Mozart myths spread rapidly after Peter Shaffer’s stage play and movie Amadeus became popular in the 1980s.  People started to ask questions such as: did Mozart have affairs with other women? Was Mozart really murdered by Salieri? Where was Mozart buried? These are only some of the questions surrounding Mozart. In this essay, we will sort out the facts from the myths.

Myth: Salieri poisoned Mozart.  This is one of the most infamous myths surrounding Mozart, probably because it’s full of drama.  How exciting to have one of the greatest composers to ever live be murdered by an opponent.  However, while this theory cannot be completely ruled out, because science was not then what it is today, there is really only circumstantial evidence and rumors supporting this theory (Stafford).  While there was definitely competition between the two composers, there never truly was enmity and ill wishes (Gay).  Salieri was even known to compliment and recognize Mozart’s talents.  After Salieri saw a performance of Die Zauberflote he was extremely complimentary about the opera saying “from the overture to the last chorus there was not a single number that did not call forth from him a ‘bravo’” (Borowitz).  While Salieri and Mozart most likely knew each other, their paths rarely crossed. Another theory of how this myth started was because “Mozart was suspicious that he was being poisoned by a circle of Italians” near the end of his life (Angel). What most likely happened was “...an attack of acute rheumatic fever” (Gay 158). It was believed by Vienna’s doctors that drawing blood was a beneficial process. It was likely that the instruments that they used for this process were unsterilized and worsened Mozart’s health.

Fact: Mozart was buried in a common grave.  This statement is a fact, however, not because of a lack of money on Mozart’s part.  It is a fact because there was a decree made in 1784 by Emperor Joseph II that all burials of the lower classes would be simple for purposes of hygiene and economy (Borowitz).  Sack burials were also encouraged and headstones were much too expensive for the Mozart family to pay.  Currently people do not know where Mozart's body rests specifically, however, in St. Marx Cemetery there is a memorial for him today (Stafford).

Fact: Mozart had affairs.  Constanze Mozart herself states that Mozart admitted to having affairs with other women.  She says that Mozart would become infatuated or enticed by a student of his or singers and that these would lead to “infidelities” (Stafford).   Also, Constanze remarks on how she would forgive him immediately, however, her sister states that Constanze would have numerous outbursts over the issue.

Myth: Mozart composed quickly, and often only had one, original draft of his compositions. While Mozart was able to compose rather quickly when he had a strict deadline, or was very inspired, he was like any other composer, constantly questioning what would sound the best. “Many of Mozart’s relatives and acquaintances described him as continually working and perfecting his pieces at a keyboard” (Angel). Unlike the myth people believe, Mozart was a normal composer who would sometimes write and revise multiple versions of the same work.  Here is a scene from Amadeus, which made this myth popular. Pay close attention at 2:25, when Salieri asks Mozart’s wife, Constanze, if he could borrow some of Mozart’s scores:

https://youtu.be/l2WALIes_84

There are many other myths about Mozart’s life and career that are not covered in this essay. Perhaps these rumors came about because listeners wanted Mozart’s personal life to match the amazing scope of his music. Although Mozart’s life is not the grand, marvelous life depicted in Amadeus, he still lived a very adventurous life.

Sierra Marsh wrote paragraphs 1, 3, and 4. Logan Kropp wrote paragraphs 5 & 6. Both Sierra and Logan wrote portions of paragraph 2.

Works Cited

Angel, Amanda. "Top Five Myths about Mozart." WQXR. New York Public Radio, 30 Oct. 2013. Web. 21 Nov. 2015.

Borowitz, Albert. Salieri and the “Murder” of Mozart. The Musical Quarterly. Vol. 59, No. 2 (Apr., 1973), pp. 263-284. Print.

Gay, Peter. Mozart: A Life. New York: Lipper/Viking Book, 1999. Print.

Stafford, William. The Mozart Myths. Stanford Press, California, 1991.  Pg. 23-24 and 45. Print.

Mozart - Week 2

Mozart’s Influences

Wolfgang Amadeus Mozart is known very well for his musical compositions. Yet, what most of his listeners do not learn about are the influences that shaped and molded his works. Mozart’s music was affected by many sources in his life, including his membership in the Freemasons and his father, Leopold Mozart.

Freemasonry throughout history has always seemed to have an infamous reputation.  Freemasons have always had criticizers of all different backgrounds. However, there have been many famous and influential men who have been freemasons.  If people look upon how America was built and who built it, one might be surprised to discover that the founding fathers were mostly all freemasons.  One man that stands out in the music history of the world is Mozart, who in fact was a freemason.  Mozart wholeheartedly participated in the freemason world.  As many sources say, he absolutely loved being a part of the brotherhood.  Mozart respected and was passionate about the “Masonic ideals of humaneness, reasonableness, and equality” (Gay).  The appeal of this for Mozart could be based in numerous different theories.  Such as some speculations that he only joined for the connections it gave him as a composer, other speculate that he did it because it was good for his image and good for ‘business’ (Gay).  Another possible speculation is more psychological in that Mozart wanted to be a part of an important organization and participate in something bigger than himself.  As a freemason, he was accepted first as an apprentice and quickly climbed to the rank of Master Mason for his craft, music.  By becoming a freemason and eventually a master it could possibly satisfy a need that he had because of his childhood.  Mozart's father was always pushing him to be a better musician, to uphold the honor of the family, and to bring in income from his talents.  We also know that Mozart craved attention and praise, especially as a child.  Being a member of the Masons allowed him to receive the recognition and praise he always wanted, and he was doing the family proud, specifically his father.  

Leopold Mozart, Wolfgang Mozart’s father, was a large influence in Mozart’s life and compositions. Mozart’s very first music lessons came from Leopold. Yet, Mozart soon started transcribing other composers work, analyzing it, and learning new methods for composing. Mozart learned the art of counterpoint in this fashion. Mozart also took, “…lessons in polyphony…from Giovanni Battista Martini…” (Gay 67). Mozart’s Symphony No. 41, “Jupiter,” is an example of his use of counterpoint. In the fourth section, he uses five motifs at the same time, creating a polyphonic effect.

https://youtu.be/zK5295yEQMQ?t=41m16s

Sometimes, Leopold’s letters to Mozart seem to supress Mozart’s creative genius. Once, Leopold said to Mozart, “You know that there are 100 ignoramuses against 10 true connoisseurs – so don’t forget the so-called poplar which also titillates the long ears” (Gay 68). In a practical sense, what Leopold says is true. In order to appeal to a larger audience and make more money, Mozart should have wrote simpler pieces to appeal to common music listeners. Yet, one can see the jealousy that Leopold must have felt with such a successful son. Even though Leopold was jealous, Mozart still had a sense of respect for his father. Leopold continued to affect Mozart even after his death. It is widely believed that there are autobiographical elements to Mozart’s famous opera Don Giovanni. Even though Leopold highly influenced Mozart, all of his life, Leopold strove to be as successful of a musician as his son. There is one bit of infamy that Leopold has: “His textbook of 1756 on the art of violin playing” (Gay 3-4). Yet, he will forever be known in history as Mozart’s father.

This portrait of Leopold Mozart was featured in his textbook.

Sierra Marsh wrote about Mozart’s involvement with the Freemasons. Logan Kropp wrote about Leopold Mozart’s influence on his son.

Sources

Gay, Peter. Mozart: A Life. New York: Lipper/Viking Book, 1999. Print.

Judd, Timothy. "Mozart’s “Jupiter” Symphony: An Explosion of Counterpoint." Timothy Judd, Suzuki Violin Lessons. Timothy Judd, Suzuki Violin Lessons, 23 June 2014. Web. 15 Nov. 2015.

Landon, Howard.  Mozart, the Golden Years, 1781-1791. Schirmer Books, New York, 1989. Pg. 122-123. Print. 

Mozart - Week 1

Mozart’s Compositions for Choir and Choral Methods of the 18^th Century

While most of Mozart’s passions were geared toward orchestral music and operas, he wrote some pieces that feature choir.  Most of his vocal pieces were masses that were commissioned by religious figures that correlated with Mozart’s Roman Catholic faith during the 18th century.  Mozart's most famous mass would be considered his Requiem Mass in D Minor. In Roman Catholicism, the definition of a requiem is a mass of the repose of the souls of the dead. 

This mass was composed near the end of his life; however, he was never actually able to finish it because he died before it was completed.  There are many different theories as to who completed it. The most popular theory is that his student Franz Xaver Süssmayr finished the last few pieces near the end of the mass.  Within the mass, there are numerous movements.  Most of them are performed separately because when the mass is performed in its completion it is close to a whole hour without cessation. These movements were also special because the “musical substance” of this requiem was not on the instrumentals but on the vocalists.  This is very unique for Mozart because most of his music was written for orchestras.

Here is a small clip of Mozart’s Requiem and Arsys Bourgogne performing Dies Irae:

https://youtu.be/neDnpgZPPvY?t=8m19s

Listening to this piece, it seems much darker than most of Mozart’ other works.  Multiple musicologists speculate that may be because of his declining health and the possible depression he was suffering from at the time (Wolff).  However, these are just speculations and theories created by historians.  At this same time, most of Mozart’s priorities were focused on his opera Die Zauberfloüte.  Many musicologists hypothesize that Mozart worked on the Requiem often in his head throughout the day and night while he was preoccupied with the opera’s premiere.  However, the requiem was mostly complete before his death. 

We will never know for sure how choristers sung during Mozart’s time because there are no recordings from the 18^th century. However, there are written accounts of the choral tone that audience members heard. For example, “…in the latter half of the 18^th century, reports about offensively loud choral singing became more frequent, and indicate that most choral directors knew little about using the voice properly” (Jerold 78). This is very different from the way choirs normally sing today. Emphasis is taken on expression through dynamics. In fact, “the extent of the vocal straining can be gauged by Dr Friedrich August Weber’s criticism in 1800 of training that leads to coughing blood” (Jerold 78). Today, choir directors focus on healthy singing techniques that choristers can use for their entire lives. One issue in some choirs of the 18^th century was tempo. One account of an 18^th century choir was said to be, “…confusing: all irregular in the music” (Jerold 77). This is because there was, “…no metronome to train musicians in rhythmic accuracy” (Jerold 77). Instead, conductors would pound large sticks or stamp their foot to keep time. Yet, without metronomes or formal music training, many choirs in the 18^th century had timing issues.

Perhaps, these accounts are merely criticisms of poor choirs, but since these are some of the only accounts of choral singing at the time, these accounts are considered true by historians. I think that Mozart and his audiences would prefer how choirs sing today compared to the screaming techniques of the choirs of the 1700’s. Because of the poor quality of choirs in the 18^th century, “Early composers rarely had the luxury of hearing their works performed with what we consider to be good musicianship” (Jerold 77). While musicians today often strive to create performances that are true to how they would have sounded when they were first premiered, Mozart would most likely cherish the sound of today’s choirs.

Sierra Marsh wrote about Mozart’s compositions. Logan Kropp wrote about choral singing methods in the 18^th century.

Works Cited

Jerold, Beverly. "Choral Singing Before The Era Of Recording." Musical Times 147.1895 (2006): 77. MasterFILE Premier. Web. 8 Nov. 2015.

Schwarm, Betsy. "Requiem in D Minor, K 626 - Mass by Mozart." Encyclopedia Britannica Online. Encyclopedia Britannica, 24 Apr. 2015. Web. 08 Nov. 2015.

Wolff, Christophe. Mozart's Requiem: Historical and Analytical Studies, Documents, Score. University of California Press: 1998. Print.