Music History 60 American Musicals Final Review 1 Penny Dreadful Costs a penny very dreadful and scary Everything that was taboo in the 19th century 2 The String of Pearls Sweeney Todd made his first appearance in The String of Pearls in 1846 3 Marat Sade 4 contrafacta 5 Takarazuka 8 Occidentalism 8 Orientalism 9 Ideal men 11 Otokoyaku 15 Kabuki A 1967 British film adaptation of Peter Weiss play Marat Sade Marat Sade is almost entirely a play within a play The main story takes place on July 13 1808 after the French Revolution the play directed by Marquis de Sade within the story takes place during the Revolution in the middle of 1793 culminating in the assassination of Jean Paul Marat which took place on July 13 1793 then quickly brings the audience up to date 1808 The most frequently heard complaint about Evita is that it makes do with only a very few tunes over which new words are layered to suit the dramatic situation a process sometimes called contrafactum In reference to the much older musical traditions of setting new words to existing melodies o o The terms carries almost the same pejorative sense as the English counterfeit its closest cognate Two key elements Exoticism and Gender Play Takarazuka s construction of the west as an exotic locale that reflects the aspirations of a contemporary Japanese feminine cultural imaginary Carries different political implications compared to Orientalism Defining ourselves in terms of the Other o o Other as mask version of ourselves Other as alternative Lack of distinctions African Asian Arabic Spanish gypsy etc Within this queer space gender bending female actors are able to portray ideal men o Men who place their female partners before all else and are endlessly sensitivev to women s emotional needs The queer fantastical world that is imagined in Takarazuka can only function within an exoticized setting Since the ideal man of Takarazuka is not thought to exist in contemporary Japan he is imagined as an occidental fantasy 10 Gender play gender training Tradition of the onnagata in kabuki theater Gender play and gender bending are commonplace within Japanese popular culture Gender as kata an artificial patterned form that can be manipulated by either gender SMAP vs Takarazuka Gender play An occidental fantasy man the otokoyaku is not an accurate representation of real westernmen o Rather this idealized male figure is an exoticized projection of the Japanese feminine cultural imaginary most popular Japanese theatrical tradition o equivalent of the American musical singing dancing all male Tradition of the onnagata in KABUKI theatre Gender play and gender bending are commonplace within Japanese popular culture Gender as kata an artificial patterned form that can be manipulated by either gender SMAP vs Takarazuka dramatic style Kabuki most popular tradition singing and dancing all male historic dramas jidaimono Runway hanamichi o o o Lion s dance shishimai tradition o Reciter o Haruki Fujimoto as consultant 14 Haiku Pacific Overtures o like economy and directness of expression developed by Sondheim for Pacific Overtures avoiding words of Latin roots This is often represented by the juxtaposition of two images or ideas and a kireji cutting word between them a kind of verbal punctuation mark which signals the moment of separation and colors the manner in which the juxtaposed elements are related In Japanese haiku are traditionally printed in a single vertical line while haiku in English often appear in three lines to parallel the three phrases of Japanese haiku 16 Noh Pacific Overtures o Aristocratic Japanese form of relatively short highly stylized narrated drama featuring expressive masks and fan play o Exaggerated operetta style of speaking is a major form of classical Japanese musical drama that has been performed since the 13th century Many characters are masked with men playing male and female roles Dramatic style Noh drama o Aristocratic short highly stylized narrated masks fan play 18 Translator ese Pacific Overtures o English spoken by foreigners in Pacific Overtures Lyrics o Evolve from Haiku like o English spoken by foreingers Please Hello talking down and stereotypes o Transition translator ese and poetic economy are both pared down modes o Japanese voice sensibility Additive constructive principles in lyrics Oppositions between circular and cyclic Japan and linear goal directed activity and motion west Musical dimension floating framents and rhythmic urgency and tonal harmonies longer lines goal directed 18 Manuel de Falla Spanish composer who worked with Sondheim on Pacific Overtures o combined a use of pentatonic gapped collections in the conventional sense with a Phrygian inflection Phrygian inflection Inflection created through adding half steps above the tonic and fifth degree device that resonates with one of the Japanese modes Transition inverting Phrygian yields major minor tonal system Western Music o link between Japanese sound and Western like Sullivan Spanish composer Manuel de Falla o Mix of pentatonic mildly dissonant harmonies o Phrygian scales half steps above tonic o o Japanese instruments flute and percussion traditionally trained Japanese musicians improvised underscoring Absorbed into orchestration Jonathan Tunick 6 The Rose of Versailles 12 Exoticism A staple of Takarazuka theater Based on the girl s comic by Ikeda Ryoko serialized throughout the 1980s The Black Crook Europe as exotic The Mikado Japan as exotic Japan as us A Trip To Chinatown In Dahomey Porgy and Bess Fiddler on the Roof ethnic musical Mikado as starting point East West as most familiar dichotomy after WWII Asia 13 Concept musical 18 Silent film often takes on some aspects of a revue Silents not silent 1920s technologies for synchronized sound film o Synchronized records The Jazz Singer 1928 Company is often cited as the first successful concept musical o An integrated book musical that is essentially nonnarrative or at least nonlinear in its narrative approach and that o Sound on film eventually wins out Music songs first thing that sells sound films Not really silent except for the music Not actually silent but accompanied throughout by music performed live in the theatre or in later days recorded sound tracks so that music unlike color had long been an expected part of the film When the art of accompanying film had all but died out that these films became known as the silents Music in a silent was necessary to enhance the drama and