1. An Introduction to Music as Social Experience Chapter 10: Music and Broadway

2. Cornelius-Natvig, Chapter 10: Music and Broadway2 Broadway: New York City’s Theater District Bright Lights: named “The Great White Way” in 1902 First electric power plant built 1882 Electric marquees, spotlights Illuminate actors’ dreams Inspire theatrical imagination

3. Cornelius-Natvig, Chapter 10: Music and Broadway3 Three seminal productions Showboat (1927) West Side Story (1957) Sweeney Todd: The Demon Barber of Fleet Street (1979) Book musicals: music and dance integrated into story Based on earlier literary sources Subsequently made into movies Story based on love, while highlighting issues of social class/ethnicity Brought important innovations to Broadway

4. Cornelius-Natvig, Chapter 10: Music and Broadway4 “No Place Like London” Act 1, Scene 1 of Sweeney Todd: The Demon Barber of Fleet Street Music and lyrics by Stephen Sondheim (b. 1930) Broadway’s goriest thriller: about mass murder Orchestra introduces “No Place Like London” theme Anthony sings two verses with orchestral accompaniment (major mode) Sweeney Todd sings “Hope Turns to Sorrow” motive (minor mode)

5. Cornelius-Natvig, Chapter 10: Music and Broadway5 “No Place Like London,” continued Orchestra introduces leitmotive for beggar woman Beggar woman sings contrasting melodies: “Alms”: slow, smooth contour, clear vocal timbre “How would you like…”: aggressive timbre, faster, recitative-like Sweeney Todd sings contrasting melodies: Recitative-like “There’s a Hole in the World,” chromatic orchestral accompaniment Slower, arching melodic contour

6. Cornelius-Natvig, Chapter 10: Music and Broadway6 American Musical Theater: The Early Years The Black Crook (1866) on Broadway set standard for extravagant productions Burlesque: comic musical parodies of serious plays, operas, dance Black-face minstrelsy: Skits, songs, dance performed by white performers with blackened faces White performers parodying African American culture Character of “Jim Crow” generated similar characters Minstrel shows popular through early 20 th century

7. Cornelius-Natvig, Chapter 10: Music and Broadway7 European operettas: Light, comic entertainment Catchy tunes, spoken dialogue George M. Cohan (1878-1942) “invented” American musical theater Storylines: ordinary characters, extraordinary moments Popular fads, music trends in shows Three outstanding composers: Irving Berlin (1888-1989) Cole Porter (1891-1964) George Gershwin (1898-1937)

8. Cornelius-Natvig, Chapter 10: Music and Broadway8 Show Boat (1927) Music by Jerome Kern Book and lyrics by Oscar Hammerstein Story: life on a Mississippi riverboat Social realism: characters contend with Social injustice Alcoholism Marital infidelity Dramatic setting also allows for light music and dance

9. Cornelius-Natvig, Chapter 10: Music and Broadway9 Show Boat, continued New kind of musical theater Music and drama closely integrated Characters developed through skillful use of music Wide range of musical styles: Spirituals Blues and jazz Popular musical theater Operatic melodies Music as sonic photograph, stops normal time Characters sing when mere words are insufficient Reflect on emotional consequences of a moment

10. Cornelius-Natvig, Chapter 10: Music and Broadway10 Show Boat, opening scene (1927) Orchestral introduction: Chromatic, low brass motive represents brutality of law Percussion added, introduces Stevedore’s theme African American choruses sing syncopated melodies Men’s chorus sings of hard labor Women’s chorus: “Cotton Blossom” is inverse of “Old Man River” Both choruses sing together – first in polyphony, then in homophony Music makes connection between hard labor/slavery and cotton industry it supported

11. Cornelius-Natvig, Chapter 10: Music and Broadway11 Show Boat, opening scene, continued White men’s and women’s choruses sing playful, less syncopated music Music returns to “Cotton Blossom” melody African American and white choruses sing same melodic material, different words African Americans: hard labor Whites: frivolous indulgence Music and lyrics show connections characters don’t understand: the fate of all Americans is intertwined Musical form: AB(a)

12. Cornelius-Natvig, Chapter 10: Music and Broadway12 West Side Story (1957) Music by Leonard Bernstein Lyrics by Stephen Sondheim Story: updated version of Shakespeare’s Romeo and Juliet Two gangs: Sharks (Latino) and Jets (Anglo) Gangs bound together by mutual hate, but move to same music

13. Cornelius-Natvig, Chapter 10: Music and Broadway13 Quintet, finale to Act I from West Side Story Ensemble finale: roots in 18 th century comic opera Quintet: Jets, Sharks, Anita, Tony and Maria sing about “Tonight” Form: A A ’ B A B/A/A ’

14. Cornelius-Natvig, Chapter 10: Music and Broadway14 West Side Story, Quintet, finale to Act I, continued Section A: Orchestral introduction: aggressive rhythms, dissonant harmonies Jets sing together, alliteration (“rumble,” etc.) Sharks sing together, new ostinato rhythm Tension builds: the two gangs shout at each other Section A ’ : Lighter orchestration, sliding pitches accompany Anita’s melody Verse structure, ostinato from Sharks’ opening

15. Cornelius-Natvig, Chapter 10: Music and Broadway15 West Side Story, Quintet, finale to Act I, continued Section B: Tony’s melody: Scale-based with leap intervals (masculine?) Time should stop – “No morning star…” Maria’s melody: Wide range, with step intervals (feminine?) Time should hurry – “The hours go so slowly…” Section A: Aggressive orchestra rhythms, harmonies return Jets repeat earlier music (new lyrics)

16. Cornelius-Natvig, Chapter 10: Music and Broadway16 West Side Story, Quintet, finale to Act I, continued Sections B, A and A ’ : contrasting sections layered together Polyphony: Maria’s melody + Jets’ commentary + Anita’s melody + Tony’s melody + Sharks’ commentary Scene ends: All sing “Tonight” + aggressive orchestral accompaniment