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  3. Here for the Hearing: Analyzing the Music in Musical Theater

Here for the Hearing: Analyzing the Music in Musical Theater

Michael Buchler and Gregory J. Decker, Editors
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This book offers a series of essays that show the integrated role that musical structure (including harmony, melody, rhythm, meter, form, and musical association) plays in making sense of what transpires onstage in musicals. Written by a group of music analysts who care deeply about musical theater, this collection provides new understanding of how musicals are put together, how composers and lyricists structure words and music to complement one another, and how music helps us understand the human relationships and historical and social contexts. Using a wide range of musical examples, representing the history of musical theater from the 1920s to the present day, the book explores how music interacts with dramatic elements within individual shows and other pieces within and outside of the genre. These essays invite readers to consider issues that are fundamental both to our understanding of musical theater and to the multiple ways we engage with music.
  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • List of Examples
  • List of Figures
  • List of Tables
  • Acknowledgments
  • Introduction
  • Part 1: Chapters That Engage Multiple Works
    • Chapter 1. “Was It Ever Real?”
    • Chapter 2. Sondheim’s Dissonant Tonality
    • Chapter 3. Topical Interpretive Strategies in American Musical Theater
    • Chapter 4. A Phenomenological Approach to Music Theater Rhyme
    • Chapter 5. The Changing Rhythms of Bridges and Ends
  • Part 2: Chapters That Engage a Single Work
    • Chapter 6. Three Notions of Long-Range Form in Guys and Dolls
    • Chapter 7. Style, Tonality, and Sexuality in The Rocky Horror Show
    • Chapter 8. Music, Time, and Memory in Jason Robert Brown’s The Last Five Years
    • Chapter 9. Lesbian Desire in Fun Home
    • Chapter 10. The Hip-Hop History of Hamilton
    • Chapter 11. “Isn’t It Queer?”
  • Contributors
  • Index
Sponsored in part by the Florida State University Libraries' Open Access Publishing Fund
Citable Link
Published: 2023
Publisher: University of Michigan Press
License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license
ISBN(s)
  • 978-0-472-90353-5 (open access)
  • 978-0-472-13331-4 (hardcover)
  • 978-0-472-03930-2 (paper)
Series
  • Tracking Pop
Subject
  • Music:Musicology
  • Music:Music Theory

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Opening rhythms of the A, B, and Tag sections of “Over the Rainbow,” by Arlen and Harburg, showing open, dense, and dense rhythms, respectively.

"Over the Rainbow"

From Chapter 5

Page 118 →Example 5.1a. “Over the Rainbow” (The Wizard of Oz, Harold Arlen and E. Y. Harburg, 1939).

Opening rhythms of the A and B sections of “Can’t Help Lovin’ Dat Man,” by Kern and Hammerstein, showing dense and open rhythms, respectively.

"Can’t Help Lovin' Dat Man"

From Chapter 5

Example 5.1b. “Can’t Help Lovin’ Dat Man” (Show Boat, Jerome Kern and Oscar Hammerstein II, 1927).

Opening rhythms of the A and B sections of “On the Street Where You Live,” by Loewe and Lerner, showing dense and open rhythms, respectively.

"On the Street Where You Live"

From Chapter 5

Example 5.1c. “On the Street Where You Live” (My Fair Lady, Frederick Loewe and Alan Jay Lerner, 1957).

Opening rhythms of the A and B sections of “Younger than Springtime,” by Rodgers and Hammerstein, showing downbeat and anacrusis phrase beginnings, respectively.

"Younger Than Springtime"

From Chapter 5

Example 5.2a. “Younger than Springtime” (South Pacific, Richard Rodgers and Oscar Hammerstein II, 1949).

Opening rhythms of the A and B sections of “Being Alive,” by Sondheim, showing downbeat and anacrustic phrase beginnings, respectively.

"Being Alive"

From Chapter 5

Example 5.2b. “Being Alive” (Company, Stephen Sondheim, 1970).

Opening rhythms of the A, B, and C sections of “What More Can I Say,” by Finn and Lapine, showing anacrusis and halting distribution, downbeat and even spaced, and downbeat and open density, respectively.

"What More Can I Say"

From Chapter 5

Example 5.2c. “What More Can I Say” (Falsettos, William Finn and James Lapine, 1990/1992).

Opening rhythms of the A and B sections of “Someone to Watch Over Me,” by Gershwin and Gershwin, showing downbeat rest and anacrusis phrase beginnings, respectively.

"Someone to Watch Over Me"

From Chapter 5

Example 5.2d. “Someone to Watch Over Me” (Oh, Kay!, George and Ira Gershwin, 1926).

Opening rhythms of the A and B sections of “Some Enchanted Evening,” by Rodgers and Hammerstein, showing front-­loaded and evenly distributed density, respectively.

"Some Enchanted Evening"

From Chapter 5

Example 5.3a. “Some Enchanted Evening” (South Pacific, Richard Rodgers and Oscar Hammerstein II, 1949).

Opening rhythms of the A, B, and C sections of “This Nearly Was Mine,” by Rodgers and Hammerstein, showing middle-­loaded, front-­loaded, and more dense distribution, respectively.

"This Nearly Was Mine"

From Chapter 5

Example 5.3b. “This Nearly Was Mine” (South Pacific, Richard Rodgers and Oscar Hammerstein II, 1949).

Opening rhythms of the A and B sections of “Soon It’s Gonna Rain,” by Schmidt and Jones, showing front-­loaded and back-­loaded density distribution, respectively.

"Soon It's Gonna Rain"

From Chapter 5

Example 5.3c. “Soon It’s Gonna Rain” (The Fantasticks, Harvey Schmidt and Tom Jones, 1960).

Opening rhythms of the A and B sections of “If I Loved You,” by Rodgers and Hammerstein, showing fragmented and smoother density distributions, respectively.

"If I Loved You"

From Chapter 5

Example 5.4a. “If I Loved You” (Carousel, Richard Rodgers and Oscar Hammerstein II, 1945).

Opening rhythms of the A and B sections of “Far from the Home I Love,” by Bock and Harnick, showing fragmented and smoother density distributions, respectively.

"Far From the Home I Love"

From Chapter 5

Example 5.4b. “Far from the Home I Love” (Fiddler on the Roof, Jerry Bock and Sheldon Harnick, 1964).

Opening rhythms of the A, B, C, and D sections of “Soliloquy/Javert’s Suicide,” by Schönberg and Boublil, showing dense, less dense, more open, and most open/fragmented distribution, respectively.

"Soliloquy/Javert's Suicide"

From Chapter 5

Example 5.4c. “Soliloquy/Javert’s Suicide” (Les Misérables, Claude-Michel Schönberg and Alain Boublil, 1985).

Opening rhythms of the A and B sections of “Fine, Fine, Line,” by Lopez and Marx, showing some fragmented anticipations and more dense syncopation, respectively.

"Fine, Fine Line"

From Chapter 5

Example 5.5a. “Fine, Fine Line” (Avenue Q, Robert Lopez and Jeff Marx, 2003).

Opening rhythms of the Body and End sections of “Inútil,” by Miranda, showing beat division syncopation with sixteenth-­note anticipations, and beat-­level syncopation with eighth-­note anticipations, respectively.

"Inútil"

From Chapter 5

Example 5.5b. “Inútil” (In the Heights, Lin-Manuel Miranda, 2008).

Opening rhythms of the A, B, C, and D sections of “Hurricane,” by Miranda, showing dense, more dense, most syncopated, then lack of syncopation, respectively.

"Hurricane"

From Chapter 5

Example 5.5c. “Hurricane” (Hamilton, Lin-Manuel Miranda, 2015).

Opening rhythms of the A and B sections of “Days,” by Tesori and Kron, showing compound meter with duplets and duple meter, respectively.

"Days"

From Chapter 5

Example 5.6a. “Days” (Fun Home, Jeanine Tesori and Lisa Kron, 2015).

Opening rhythms of the A, B, and C/Bridge sections of “I Believe in You,” by Loesser, showing changes in articulation from staccato, longer, to legato phrases, respectively.

"I Believe in You"

From Chapter 5

Example 5.6b. “I Believe in You” (How to Succeed in Business without Really Trying, Frank Loesser, 1961).

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