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

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cannot be composers. His characterization of woman is full of gender stereotypes regard- ing her emotional state and mimetic interpretations, her inability to endure disappoint- ments or opposition (“woman is not calculated to endure”), and her lack of facility to comprehend theory, counterpoint, or form because of her innate use of intuition rather than logic or mathematical deduction. Because of these gender limitations and societal expectations, he wrote, “It does not seem that women will ever originate music in its fullest and grandest harmonic forms. She will always be the recipient and interpreter, but there is little hope she will be the creator.” 14 One must wonder about Upton’s reaction in the next decade to the enormously successful Boston premieres of Mrs. H. H. A. (Amy) Beach’s Grand Mass in E-flat Major (1892) and Symphony no. 1, “Gaelic” (1896). Ethnic women of the working-class poor and African-American women did not enjoy a separate sphere. Their reality was the necessity for mothers and daughters to work outside of the home (or to take in piece-work) for ten to twelve hours a day, six days a week, just to survive. They then returned home to attend to their own domestic work. 15 This created a serious source of conflict within the home as the husband felt that it demeaned his own abilities to provide adequately for his family. An increase in physical abuse and alcoholism became the norm for working-class fathers. 16 Jobs for women outside of the home were always at the lowest rank of pay and aptitude, and in 14 Woman in Music, Boston: J. R. Osgood (1880); reprinted in Carol Neuls-Bates, Women in Music (Boston: Northeastern University Press, 1996), 206-210. Upton was a music critic and editor for the Chicago Tribune. 15 In the textile industry, specifically, daughters worked to supplement the family income so that the sons could continue school. They usually left the work force after marriage, but then returned while raising children to “make ends meet.” Kerber and DeHart, 483. 16 Pleck, 1951. 39
unhealthy, sub-human environments. Hired based on gender stereotypes rather than abilities or intellect, women were given little chance to improve their employment level. The “Woman Question” As women began to speak out against the injustices of the factory system and inherent inequalities of legal protection in the separate spheres, a universal debate began that involved philosophers, scientists, and religious leaders throughout the late nineteenth century and into the early decades of the twentieth century. This debate, known as the “Woman Question” or the “Woman Problem,” centered on the status of woman as a member of human society in terms of biological, sexual, psychological, and intellectual characteristics. Early commentary on the American “Woman Question” is found in Harriet Martineau’s Society in America (1837), Sarah Grimké’s Letters on the Equality of the Sexes and the Condition of Women (1838), and Margaret Fuller’s Woman in the Nine- teenth Century (1845). 17 Each of these authors protested the hegemonic perpetuation of woman as a subordinate object or property. This type of discourse on woman’s social status and biological traits has, of course, been debated since the Middle Ages. But for the first time, woman as Other became equated with pathology in her demands for emancipation and reform. Even though the term “feminist” was not coined until 1910, the feminist move- ment began as early as 1848 with its first manifesto by Elizabeth Cady Stanton. Her 17 Martineau (London, 1837; reprint, New York: AMS Press, 1966); Grimké (Boston, 1838; reprint, ed. Elizabeth Ann Bartlett, New Haven, CT: Yale University, 1988); Fuller (New York, 1845; reprint, New York: Norton, 1971). The opinions of these writers are summarized in Ann Shapiro’s book, Unlikely Heroines: Nineteenth-Century American Women Writers and the Woman Question (New York: Greenwood Press, 1987). 40
Page 1 and 2: LEWIS, ANNE, D.M.A. An Examination
Page 3 and 4: APPROVAL PAGE This dissertation has
Page 5 and 6: TABLE OF CONTENTS iv Page ACKNOWLED
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: children, however, did allow mother
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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