Sideshow Performance Report

Scott Easum

MUSI 1306

M. Young

4/27/2010

Sideshow: The Musical

Sideshow is a musical dealing with the themes of social alienation and acceptance, focusing on the main characters Daisy and Violet Hilton, who are two Siamese twins from a circus troupe. Throughout their lives they leave the troupe meeting future managers and love interests Terry Connor and Buddy Foster, and bring along their friend Jake. The musical was shown at the college in the University Theatre, an average sized venue larger than the Jonsson Performance Hall, but smaller than the auditorium found in the Conference Center. I saw the play on closing night at 8pm on Saturday, April 17, 2010.

Many things, including a gigantic variety in the styles of music, can characterize the music of Sideshow. The musical seems to be split into two kinds of songs. There is the music sung by the performers to develop the story, and then there is the music sung by the performers as they are performing within the play. These two different reasons for musical numbers add to the variety, with the silly numbers poking fun at Vaudeville, and the more serious songs adding depth and emotion to the characters of the play. Not to mention, the type of music of the more serious songs varied as well, with a song even having the lyrics and sound of a song about Voodoo. The style of the singing was also extremely different from a formal choral performance like Shakespeare in Song. The change in tone and timbre of the vocals adds to the intelligibility of lyrics, which is extremely important since the musical was comprised of over twenty-five different songs. Another interesting and important note about the music was the repetition of different motives and themes throughout the musical. These themes are both themes in the musical and literary sense, with songs like “Look at the Freaks!” being repeated in both lyric and music. (Sideshow: The Musical). The twins also have a couple of their own themes that show up multiple times throughout the musical such as the melody and lyrics “I’m Daisy, and I’m Violet” (Sideshow: The Musical).

The performers were all varied in both costume and role. The musical certainly required a large budget for costumes with some characters having 4 or 5 costumes, while other performers played multiple characters that required several costume changes. Outside of the actors, the band played in a very circus themed box, still in the background, with black outfits to not distract from the performance. The actors on the other hand, had much more movement to do. Characters like Jake, the Cannibal King, had to fill extremely athletic roles. The twins also had a very interesting challenge, since they had to try and replicate being Siamese twins. Creating different costumes that helped hold the two together must have been a huge challenge as well. The performers also had to deal with complex audio equipment, since there were a huge amount of soloists using microphones to help their voices combat the larger ensemble sound of the group, while the group had to combat the amplified soloists. The lead characters also had to have a great amount of vocal and mental stamina, with the show clocking in at around two and a half hours.

The audience of the musical was very receptive to things like jokes and respectful towards the performers, giving them standing ovation at the end of the musical. It was made up mostly of students supporting their friends that were performing. There was little audience participation in the musical outside of the introduction of the freaks, where some of those in those in the front row were shown the different skills of the characters at a very close range. An extremely important thing to note about the near full house play, is that the musical has brought in the most of any production ever put on at UTD. The time and space also had an effect on the showing of the musical. The obvious popularity of the play, along with the fact that it was closing night definitely contributed to the amount of people in the theatre.

All of these elements went into the work it took to put on the UTD production of Sideshow. The music, performers, audience, time, and space played an integral part in putting the complex show on. Using complex musical themes and a large cast, the school showed Daisy and Violet Hilton’s story.

Sideshow: The Musical. Russel, Bill. Dir. Evans, Kathryn. Cond. Stone, Winston. University Theatre, Richardson, TX. 4/26/2010.

Punk Rock

Punk Rock was started early on in the seventies with bands like The Ramones and the Sex Pistols leading the movement. Like much other Rock and Roll there was a focus on the electric guitar, small ensembles, four beat cycle, and simplified progression. However, punk took many of these elements to an extreme level.

Punk has always been known specifically because it has some of the most simple progressions of all, almost always staying in the I IV and V chords. They not only use the four beat cycle, but also always keep it going, with drummers never letting off eighth notes. Though the emphasis on singing may seem like it is less, the genre survives off simple catchy hooks, also usually with an emphasis on fast eighth notes.

All of this can be demonstrated in the very famous song "I Wanna Be Sedated" by The Ramones.

0:00 The song starts in with a simple guitar line and the drums start a basic pattern using constant eighth notes. The pattern changes slightly but the eighth note backing is there for the rest of the song.

0:03 The first vocal line starts. One of very few in the song, which focuses on short hooks.

0:17 The second vocal melody starts.

0:54 The "guitar solo" of the song which features only one note begins.

1:08 Key change!

2:04 The last vocal change is introduced.

Gullah

The Gullah people, who live in South Carolina and Georgia, have a very rich culture. They live in these areas because their ancestors lived there in slavery on the same plantations. Even though time has passed, and the plantations have evolved into golf courses, the Gullah have retained their heritage.

Much of this is done with their very active music culture. This culture is a very traditional culture, and is always passed on orally. Many of the songs are also in their native African languages. The most important aspect of the music culture of the Gullah would have to be how spiritual it is. Since it is for a religious purpose, it also involves the entire community, with things like funeral songs using drums.

Different types of music still center around this very spiritual center. A good example of this is the “ring shout”, where the people performing get in a big circle, and feel possession by the Holy Spirit at the end of the ritual dance. These ideas are also not the only things in the religion. They also believe in different forms of witchcraft. All of these reasons to perform this music lend to the reason that the Gullah music culture is so communal.

Performance Report 1: Shakespeare in Song

Introduction

The performance Shakespeare in Song is a mix of acting and singing performed by the UT Dallas Chamber Singers in the Jonsson Performance Hall on Friday at 8 p.m. at UT Dallas. The performance takes different scenes from eleven different Shakespeare plays, and puts songs after acting many of these scenes out.

Music

The music of the concert was very varied. There were many minor and major songs, with solos accounting for about a third of the music. The minor songs tend to be more romantic, with quite a bit of dynamic difference. On the other hand, the songs in major keys tended to be more classical, with some even just seeming to go up and down the scales.. Another big difference between songs was that while soloists seemed easier to understand, they also used much more vibrato. Many of the songs had similar themes, especially since they all came from Shakespeare. The laments were plentiful, though certainly not the only types of song. In fact, some songs didn’t even use words. For example, one used onomatopoeia throughout while another kept repeating the phrase “ding-a-ling” over and over throughout the song (Shakespeare in song). Many of the songs also used similar structure types. Most of the minor songs resolved at the end with a major chord. Also, in keeping with this older type of song, both the minor and the major songs would resolve different sections of song by using a suspended fourth to a major chord.

Performers

The performers themselves were dressed up to play their parts, in what seemed to be Shakespearian clothing. The accompanist and the director both seemed to have more lavish clothing than the choir itself. The performers themselves played many different roles, splitting between singing and acting. Some of the members of the choir actually played multiple characters from the excerpts of Shakespeare’s plays. The soloists seemed to always act out parts from their plays before singing, since the text of the acting usually sets up the scene where the song is performed. A really surprising thing about the soloists is that none of them performed with the choir. They performed their solos and then sat down in the front row with the rest of the audience. The acting itself had no movement outside of emoting along with arm and hand movement. However, the members obviously had fun with it, especially with the drunkard giving messages. Much of the text and context was almost incomprehensible without the extensive paragraphs about each play in the program for the performance. Even the powerpoint that changed between each song gave almost no information about the text of the song or play. The acting was peppered with inside jokes of the plays that were also made much funnier with a quick read through of the program.

Audience, Time, & Space

The theatre itself was a very small auditorium, and the lights were surprisingly undimmed. This gave a very interesting air of informality about the concert. The crowd of the performance might have also contributed to this feeling, with many very informally dressed college students attending the concert. This audience was made up mainly of students supporting their friends that were members of the choir, and the parents and family of the choir members. Though this was true, the time of the concert was more typical of a formal setting, since it happened at night on a weekend. The audience did clap between each song, and there was still one accidental clap somewhere in the middle of a song. For this particular audience, it seemed very noticeable that many were taking notes for their respective classes.

Conclusion

The concert as a whole was an informal concert showcasing many of Shakespeare’s well-known works through both song and context from the play itself. It is obvious much time went into the production, whether shown by the complexity of the last song with 16 different rounds, or by the extensive program notes on each play that was performed.

MLA Citations

Shakespeare in song. Dir. Kathryn Evans. Perf. UT Dallas Chamber Singers. Cond. Kathryn Evans. Jonsson Performance Hall, Richardson, Tx. 3/26/2010.

Evans, Kathryn. Program notes. Shakespeare in Song. 3/26/2010 Richardson,Tx. Jonsson Performance Hall

Rossini: Barber of Seville

The opera Barber of Seville by Gioachino Rossini is easily the most well-known opera by the composer. In this particular clip, the song employs very fast 16th notes and is forte throughout the majority of the piece. This contributes to the singings feel of snappy rhythm. The song's accompaniment, like most of Rossini's work, is very light and uses only strings and winds. Like nearly all opera, the singer himself uses a lot of vibrato. The vibrato may hinder the ability to understand the opera, but since I don't speak Italian it is a little hard to tell. While most of the song remains in forte, their are definitely a few of the 'Rossini crescendos' throughout the song.

The set up is very standard for a recorded for television performance. The singer is in front of the accompanists, with a microphone and standing up, while the rest of the performers are sitting. There seems to be a relatively large audience as well, though that could easily be a camera trick. The singer in the opera surprised me with his voice. While I did expect the normal low baritone tone to the voice, his stature and face just don't seem to match up. I also think the uncanniness may be linked to the fact that the audio is slightly off with the video.

The Music of Avatar

Wanda Bryant certainly had an interesting task with helping produce the film score for Avatar. While the movie definitely does contain a tribal "vibe" in the music, that is not always present throughout the film score.

How could it be? After all, a soundtrack that sounds like it came from the opening scenes of The Lion King can't exactly be expected to instill dread in the hearts of the massive amounts of people who saw the film. So while some of the nicer moments of the film, such as Jake's first flight with the dragon-like creatures contains a chorus and tribal drums with a happier sound, other scenes such as the toppling of the great tree the Na'vi live in calls for old-fashioned, loud, scary brass instruments.

Of course the culture of the fictional blue race is still obviously apparent, with a shaman like set of leaders, and constant gatherings of what appears to be the entire tribe. The only music they really make throughout the movie is a kind of chant where they all join hands. However, this kind of group music is the only kind that would really make any sense with the large tribes, real or fictional. Whether or not they are real, the Na'vi certainly do have their own culture in Cameron's three hour epic.

Musical Ethnography

Scott Easum

Professor MaryAnn Young

Music 1306

3/11/2010

Musical Ethnography

Introduction

I am covering the open microphone culture in and around Irving, TX. In my research of this culture, I have found that the main focus of the culture is on setting that goes alongside the music. Rather than the ideas and activities music itself being important, it is the social setting in which they are performed. The music is there to add to the environment the audience is in, rather than the audience attending to hear the music that is being played.

Methodology

Throughout the last five or so years, I have participated in many different music cultures, participating in things like bands as often as possible. However, even with doing those things, I had never seen an open microphone type of event done outside of a school up until this point. What I did to go learn about how these events operated was go straight to the source. In this particular case, the even was held at ZuRoma’s Sicilian Kitchen. Even though that sounds odd, the restaurant stays open late and has an entirely different atmosphere for the open microphone nights every other Wednesday.

It was immediately obvious as I walked into the “Sicilian Kitchen” that the event had changed it. Smoke filled the air, and the bar was full with about twice as many people it should even be able to hold. This restaurant was quickly turned bar. My main method of research at the now transformed restaurant was just going up and talking to the people who were there. Most of the interviews were done more as casual conversation, such as with the 15-year jazz drummer, whose band frequents the event, which happens every two weeks. Even though others there were talked to, they were more of the audience than the performers, and the drummer had given me the same information already. However, I also did a more formal interview with my guitarist Jasen Wagner at his much calmer and quieter house. He has a huge amount of experience in different types of music performance, and was a perfect candidate for the interview about the culture as a whole rather than specifically.

Aspects of the Music-Culture

The ideas of the culture are not complex, nor are they set in stone. For the most part, the culture of the open microphone exists to bring people together in a social setting. Both the audience and the culture seem to define their music as needing at least one guitar and a singer, though other instruments are both widely accepted and encouraged. The songs are usually faster to please the audience, since everybody is “[t]here to have fun and just hang out”(A). The dress is very casual, and in this particular case, the crowd. The music is performed at the event on stage at nights that change depending on where you go to this type of event. Once it starts though, the music is almost nonstop outside of the different acts changing between each other.

The activities in the culture are very open to everyone. Neither the audience nor the people running the event are picky about who is playing the music at all. Immediately when we walked in, we were asked what we would be playing. Though the instruments were certainly a dead giveaway, it shows that this really was “open”. Being a new act, the band that I played with at this open microphone went fairly early on into the night. The reception was there but the noise died down to minimum during us playing (ZuRoma). Though I was worried about it, he assured me “they may not seem like it, but they’ll remember it later” (Wagner). Sure enough, his statement was proved later in the night as somebody got up on stage and then as he hit a high note the crowd wailed along with him (ZuRoma). The ideas about the purpose of music are hugely different. Some of the performers are obviously passionate about their music, while others are just playing as they hang out with their friends. The music is always played, but for the most part, the crowd is always talking and being loud as well. Though I was there in the middle of the semester, the jazz drummer I met there along with just about everybody I talked to me said that the event was “standing room only in the summer. Sometimes even over one hundred people”(A). This creates a conundrum for the more serious artists. Even though they risk a crowd being louder than them and not even paying attention, if they can win over that crowd, they have a possibility of a huge following. However, most of the performers there are just people with their friends in a social setting. This means that the music is not really preserved on the internet or CD most of the time. It exists only in the minds of the performers and the audience members who frequent a certain place for an event.

The repertoires of music in the culture are widely varying. This music culture most definitely fits into the rock genre, but it does have the pop music focus on vocal melodies, especially with acts that just use an acoustic guitar and singer. However, these genres are not the only ones that are present in the performances, with people just doing things as jokes. Parodies of slow rap songs, and at the event I attended there was even a prerecorded song using auto-tuning and R&B styling as a joke (ZuRoma). The repertoires also vary greatly between cover songs done by other artists and originals. The music is composed outside of the formal event itself, and if it is transmitted from one person to another, it is usually in smaller areas practicing for events like this. Movement can accompany the music, but it is not a choreographed movement. Rather, some people movie with the beat of the song, most often when there is a lot of energy or a fast tempo in the song. There are lyrics, but they are unimportant to the audience. Though at my particular event the audience did keep yelling for somebody to “play us a sex song”(ZuRoma).

On that note, the material culture doesn’t include too many things. However, it most definitely includes alcohol. And judging by a table of 8 wailing at as high of a pitch as possible, the culture includes copious amounts of it. There are other things like guitars necessary for purchase for some people to play. However, since the event has no music being purchased, the places running it need some way of making money, which is why there is so much alcohol being sold. This, of course, is why the event is such a social setting. The plan also obviously works since the particular restaurant I went to is Sicilian Kitchen by day, and loud music playing bar by night.

Conclusion

Even with the focus on the social aspect in this culture, the music is still very important to the culture in many ways. Whether just to play and mess around or to try and win over the crowd and gain a following for other places, there is always a reason for the music to be playing, and the crowd will always be wailing along with it.

Works Cited

Person A. Personal Interview. 17 Feb 2010.

Wagner, Jasen. Personal Interview. 20 Feb 2010.

ZuRoma Open Mic Night. ZuRoma’s Sicilian Kitchen, Grapevine. 17 Feb 2010. Performance.

Pre-Musical Ethnography: A Work in Progress

Just as a small note, this is blog post 8. Its just a little late.

My music culture, which is open microphone events at different places around the western Dallas area near Irving, has an interesting problem. The problem itself is actually as much of an asset as it is a hindrance, making it unique, though unsurprising issue and intrinsic property of the culture. Quickly into the night, people tend to get extremely drunk. Though this helps research, by letting me interview people without even the slightest hesitation, it is a little bit hard to believe outrageous claims made by a man who almost just fell out of his chair while making them.

However, as I said, this is an intrinsic value. When you see two men walk up to their guitars, and set down a pitcher at their feet just in case their glass runs out in their less than 15 minute set, you begin to see this is a common thing.

Of course, there are more mundane problems of getting into researching these music cultures. Scheduling is always an issue, especially when trying to participate as both an audience member and a performer with others. Not to mention just finding the small signs in the sides of buildings pushed back away from the roads, as you drive up to an event starting far after the sun has gone down.

As an interesting note, one of the biggest hindrances in the music culture is just the general timing. Something to do at 8 the next morning? Have fun until 3 A.M. anyway, then drive 40 minutes and wake up in a few hours. However, there is a general sense that everybody is doing this, and just putting off sleep for another fun night.

Japanese Noh Theatre

Japanese Noh Theatre is easily the hardest thing I've been asked to describe in a long time. The act of the play itself is lost on most Americans, since it is about the beauty of the text along with the dance. The dancing, while seen as elegant, is extremely slow, making an understanding of the act of performing Noh necessary to enjoy watching it.

The elements of the plays include very nonpulsatile music from three different drummers and a flute, called the nohkhan, which works differently than the standard flute. This small ensemble is known as the hayashi and accompanies the actors. Another very frequent aspect of the performance I saw was kagekoe, which are the loud shouts from the different drummers in the performance. Another element was the singing style, where the pitch did not seem to be the main focus of the song. The play is performed on a stage with three open sides and a different back, much like many types of Western plays. However, Noh has no changes in the back ground never changes throughout the play and the props are minimal. Lastly, the masks in the plays obviously play a huge role, though a boy will never wear a mask in Noh theatre according to this site.

Indian Classical Sitar

After finding what I assume to be Indian classical music, I still don't understand how the behemoth of a chordophone that is the sitar is played at all. Though my song might be nameless, it certainly has the qualities of Indian classical music.

The accompaniment in the piece is very light, as it seems to just have the sitar playing along with a few drone notes throughout the piece. Even without the drumming the piece is very obviously Indian with the sitar, who seems to be improvising by doing different embellishments throughout the entirety of the piece. Much of this particular song seems to be going between a lower monophonic melody and a high chord back and forth, though most of the melody itself is the ornamentation.

Another interesting thing about the piece is its rhythm. I would say it is nonpulsatile, but the speed of the subdivisions in the music seem to be the same. The eighth notes always happen the same length apart from each other, but each phrase seems to come in at a random point. Because of this and normal Indian classical music tendencies, it is hard to tell if the song has a quasipulsatile beat or if is going through systems in its tala. Even though I don't know how to tell, I do really enjoy the sporadic rhythm of the piece, and personally find the song itself rather calming.

Googoosh: Man Amadan

Throughout Iran, the famous actor and singer Googoosh is very popular, and used to make pop music that was extremely well known in the 1960's and 1970's. In the song Man Ramadan, it is very obvious that the music is based in the Middle East, while still borrowing many more Western elements.

The first very noticeable thing about the piece that makes it so clearly Middle Eastern are the very quick melismas that appear frequently throughout the song. Both Googoosh's voice and the instruments do many of these at the very beginning of the song. Another big Middle Eastern element is the heterophonic melodies, played by many instruments at once with different embellishments. Usually the largest amount of embellishments come from Googoosh herself. Lastly, the instrumentation is very Middle Eastern, with stringed instruments rather than electric guitars accompanying the pop singer throughout the song.

As previously stated, the song has some Western elements too. The most noticeable is arrangement of the song itself, which seems to follow the standard verse refrain verse refrain pattern. Also, the refrain seems to have a more Western melody, without the complex and fast melismas occurring throughout the song. These multiple elements together mix to make a very interesting Iranian pop song.

My Time Learning About Chinese Music and Its Culture

This Thursday, we as a class got to meet a group of children from China that were in Dallas for a performance and to learn about American culture. They came and talked with us for a while on Thursday. The conversation was extremely interesting and said a lot about the differences between the two cultures.

The biggest difference was the much bigger focus in their culture on folk music. When we were asked, outside of popularized folk music, we had literally zero examples to give back to their class. Since America has really never been as big on traditions, outside of maybe the recent super bowl, it makes since. This could be because of the countries extremely young age, or just a difference in culture overall.

Both cultures definitely had a huge amount of diversity in both their music, and many regions that enjoy different types of music. Also, just as a side note, the fact that they mentioned Michael Jackson as a well known favorite artist makes me wonder how long he has been popular in China, and if he is viewed in the same light as bands in America that have been around for a long time like the Beatles, or as something on the radio like other popular music.

UTD Faculty Concert: How Insensitive

On Saturday night, the UTD faculty and staff played different songs they had been working on for the students and to celebrate the 40th anniversary of the school. While I enjoyed pretty much all of it, I really enjoyed Jobim's How Insensitive. The song itself is a slower jazz tune with the melody handed over to the electric guitar, in this case a hollow-bodied one.

In my discussion of music, performers, audience, and time and space, I will go in a bit of a backwards order. The time and space, like most formal concerts was during the night of a weekend. As usual with these concerts, it was played in an acoustically treated large room with a stage and a large amount of seating. The audience also acted as normal in this type of concert, just clapping in between songs as the main focus in this type of performance is on the music, with a small focus on performers.

The performers themselves all did quite a bit of pulsing along with the beat of the music but otherwise were pretty much completely stationary. The music itself on the other hand was extremely complex. It started out in a very slow groove, with the guitar providing relatively slow melody in parallel octaves, with others playing jazz accompaniment. After a few bars the guitar started doing much faster runs in jazz scales, and the drums went from the quite rim clicks to more complex patterns on the ride cymbal as well. This faster energy continued at this same tempo until the end of the song.

As a quick side note, the concert made me realize i dont know enough jazz, which is very close to blues in many ways, so I am pursuing learning jazz guitar thanks to the UTD faculty and staff.

Musical Ethnography: Local Rock

I plan to do my musical ethnography over the different venues in and around the Deep Ellum area as my band begins to perform there. While my band will obviously be somewhat of a focus, I hope to focus more on the audience and time and space of the venues. I also hope to bring attention to the different expectations from both the audience and owners, and to the atmospheres in the different types of venues in an attempt to contrast the larger high paying venues with the smaller venues that run open mics.

These smaller venues, while having an emphasis on the types of music one hears on the radio and its quality, it is hugely different from the expectations of the mainstream version of this culture. One of the main differences comes from lack of audience knowledge of the music. In many rock concerts in popular music, audience participation such as jumping up and down, clapping, and singing along is highly encouraged. These local concerts usually have much less participation, and the bands are there more to increase the atmosphere in places like bars and some restaurants.

Since no blog post about ones band would not be complete without a plug, since my band currently has no music on the internet, here is a plug for one of my own songs with me on each instrument.

Blog 1: Classic Rock and it's influence on me

I have always done music. I started with piano lessons as early as five, and now play both guitar and drums. Even before I did this I always listened to classic rock. Bands that have high energy with guitars and emotional rock vocals such as The Who have always appealed to me. Though as a child I always appreciated bands like the The Beatles and pretty much any 80's music my father would listen to, as I grew up I started to appreciate the bands quite a bit more as I played instruments and learned theory. As I went on with life and my musical education I started to study the theory behind The Beatles and artists like Queen and Paul Simon. I am also very fond of the different versions of the blues that appear in so many classic rock songs, though I still think that Jimi Hendrix did it best.

These cultures not only influenced me by giving me something to listen to for my formative years, but by giving me something to study and aspire to. To even have the ability to produce sounds like theirs out of my instrument was a huge goal in my life, and I always hope to capture things like the emotion of the blues with things like the highly technical jazz theory of Paul Simon in anything I make or cover.

Also, though it hasn't always been a huge influence, I really enjoy acoustic fingerstyle guitar, which is a philosophy that the acoustic guitar should emulate the rhythm of drums and accompaniment of background instruments, while also producing the melody of the music all with one person.

On that note, here is Antoine Dufour, covering the song Drac & Friends I.