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Song Character Analysis Worksheet - The University of North ...

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progressions, tessitura, the accompaniment’s relationship to the vocal line, and the<br />

structure <strong>of</strong> the climactic phrase. 39<br />

Comprehensive preparation <strong>of</strong> these four steps by the singer before the first<br />

rehearsal is a standard expectation <strong>of</strong> the production team in pr<strong>of</strong>essional theatre. It also<br />

provides a non-pr<strong>of</strong>essional singer a strong foundation for an original performance that<br />

will delight (and probably astound) her director and music director. It should be<br />

cautioned that this is only a method. <strong>The</strong> ultimate goal is to make a physical and emotion<br />

connection <strong>of</strong> the words and the music that best “communicates the story <strong>of</strong> another<br />

human being.” 40 As an example, this analytical method will be outlined as a means to<br />

communication for two songs from Show Boat.<br />

<strong>Analysis</strong> <strong>of</strong> Select <strong>Song</strong>s in Show Boat<br />

<strong>The</strong> songs <strong>of</strong> Jerome Kern retain landmark status as popular songs for they remain<br />

in the standard repertoires <strong>of</strong> jazz and cabaret performers, as well as in the memories <strong>of</strong><br />

pre-rock-and-roll generations. <strong>The</strong>ir appeal remains because <strong>of</strong> Kern’s careful crafting <strong>of</strong><br />

text and music; his ability to capture a universal emotional essence in song. Kern was the<br />

first native-born American composer who studied in the European tradition but then de-<br />

parted from it to create a new American type <strong>of</strong> art song. Alec Wilder described Kern’s<br />

music in the 1920s as portraying a “native quality . . . a new kind <strong>of</strong> song, perhaps unlike<br />

39 Clark recommends that the singer ask the composer “why?” throughout the score to find<br />

emotional clues and personality shadings within the music. Singing, Acting, Moving in Opera, 25.<br />

40 Jake Heggie, composer, quoted in Clark, 96. Heggie’s expectations <strong>of</strong> performers are that<br />

“every good singer does what the composer does--starts with the text, understands it, and then works on<br />

inhabiting it convincingly.” He believes that a “sense <strong>of</strong> motivation and purpose” is lacking in most<br />

dramatic and concert performances. Clark, 97.<br />

95

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