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

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ACKNOWLEDGEMENTS Many thanks are extended to my committee and class professors for allowing me to pursue this topic, with special thanks to Dr. Carroll for his guidance and enthusiasm, and to Dr. McCrickard for shepherding me in the initial discovery of the topic and the origin of this document. I am thankful to my students and colleagues at Averett University and Interlochen Arts Camp for their encouragement, and for their patience with my mindless moments throughout this process. A special debt of gratitude is owed to my family for their unselfish understanding of my priorities and prayerful support of this entire endeavor. I can never repay such amazing encouragement and love. And to J. T., my proofreader, prodder, housekeeper, and sanity provider, words fail to express all that you have contributed in these past four years. Thank you. iii
TABLE OF CONTENTS iv Page ACKNOWLEDGEMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii CHAPTER I. OVERTURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 II. MUSICAL THEATRE HISTORY: 1890-SHOW BOAT (1927) . . . . . . . . . . . .15 III. SOCIETAL STEREOTYPES OF WOMEN REPRESENTED BY THE FEMALE LEAD ROLES IN SHOW BOAT . . . . . . . . . . . . . . . . . . .34 IV. THEATRICAL STEREOTYPES OF WOMEN REPRESENTED BY THE FEMALE LEAD ROLES IN SHOW BOAT . . . . . . . . . . . . . . . . . . .54 V. GENDER-BASED PERFORMANCE PRACTICE APPLIED TO SELECT SONGS OF SHOW BOAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 VI. CURTAIN CALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 APPENDIX. SONG CHARACTER ANALYSIS WORKSHEET . . . . . . . . . . . . . . . .120
Page 1 and 2: LEWIS, ANNE, D.M.A. An Examination
Page 3: APPROVAL PAGE This dissertation has
Page 7 and 8: for research, this paper will explo
Page 9 and 10: MacDonald, labeled musical theatre
Page 11 and 12: The musicals that have entered the
Page 13 and 14: and individually as handwriting.”
Page 15 and 16: Methodology The base of research fo
Page 17 and 18: Feminine Character in Selected Libr
Page 19 and 20: from the 1920s, they are timeless i
Page 21 and 22: e helpful to recognize the specific
Page 23 and 24: as a Cinderella-type heiress who ma
Page 25 and 26: Vereen described the “blackface c
Page 27 and 28: Casino Theatre in Manhattan. The re
Page 29 and 30: functional sets, and an eleven-piec
Page 31 and 32: The History of the Musical, Show Bo
Page 33 and 34: amount of instrumental music, the d
Page 35 and 36: Ferber’s novel begins with the na
Page 37 and 38: Act II begins four years later as G
Page 39 and 40: CHAPTER III SOCIETAL STEREOTYPES OF
Page 41 and 42: communion.” 5 This bias continued
Page 43 and 44: children, however, did allow mother
Page 45 and 46: unhealthy, sub-human environments.
Page 47 and 48: dominated by masculine traits in ap
Page 49 and 50: magazines, including Ladies Home Jo
Page 51 and 52: Nineteenth Century Stereotypes of W
Page 53 and 54: usiness. She was responsible for th
Page 55 and 56:
gender) inequality forced them inst
Page 57 and 58:
The 1920s was the Jazz Age, a time
Page 59 and 60:
CHAPTER IV THEATRICAL STEREOTYPES O
Page 61 and 62:
peoples . . . to save us from our o
Page 63 and 64:
separate seating arrangements). The
Page 65 and 66:
Feminine Aesthetic in Theatre Any a
Page 67 and 68:
gossip columns. 17 Exploitation on
Page 69 and 70:
means to economic or career advance
Page 71 and 72:
Florenz Ziegfeld, reportedly, was q
Page 73 and 74:
in a subservient role as a domestic
Page 75 and 76:
looked, Magnolia decided, as if the
Page 77 and 78:
When he holds me close, Close as we
Page 79 and 80:
In the novel, Parthy Ann is a three
Page 81 and 82:
opens her handbag and takes out a p
Page 83 and 84:
“hero”) and the piano player (t
Page 85 and 86:
the nineteenth century’s gender r
Page 87 and 88:
of that time. Performance practice
Page 89 and 90:
possibilities for manipulation and
Page 91 and 92:
order while the musical number repr
Page 93 and 94:
“Finding in that sound all the ki
Page 95 and 96:
often distorts vibrant voices, rend
Page 97 and 98:
elationships with other characters
Page 99 and 100:
Finally, the process includes a mus
Page 101 and 102:
any other theater music heard up to
Page 103 and 104:
een presented in previous chapters,
Page 105 and 106:
“Though the cold and brutal fact
Page 107 and 108:
[Bridge]: When he goes away dat’s
Page 109 and 110:
angelically while caught in the act
Page 111 and 112:
The song appears twice more as a pl
Page 113 and 114:
CHAPTER VI CURTAIN CALL The musical
Page 115 and 116:
theatre performance practice. They
Page 117 and 118:
BIBLIOGRAPHY General Sources Burkho
Page 119 and 120:
Long, Mary Anne. “‘All Our Girl
Page 121 and 122:
Kerber, Linda K., and Jane Sherron
Page 123 and 124:
Levine, Lawrence W. The Opening of
Page 125 and 126:
Song Title: Show Title: Lyricist: C
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