Seeing Music- Story Adaptation Of Aaron Copland 's Hoedown

Much of Thomas Newman’s music is rooted in the sounds of the deep south, with several interesting cues written for an eclectic ensemble including such weird and wonderful instruments as a bowed travelling guitar, a Vietnamese banjo, a jaw harp, bass marimbas, a tonut and the omnipresent saz. Occasionally, the music attains a kind of hypnotic sensibility that draws the listener in, but at other times it

Family friendly, heart tugging, hilarious, energy filled, Matilda the Musical does it all in this unbelievable performance and is a must see for everyone. The humor is perfect for all ages and will have everyone laughing, but at the same time still has little remarks that go over the kid's head. Matilda the Musical is currently playing in the beautiful Cambridge Theatre in London’s West End and the set and special of effects of the Matilda are a little unnecessary at times, but still impressive nonetheless. This show will have you laughing and talking about the performance for days to come!

‘Matilda the Musical’ was adapted by Dennis Kelly from one of Roald Dahl’s most famous books, with the lyrics and music being written by Tim Minchin. Matilda was first performed in November of 2010 at the Royal Shakespeare Company, before moving to the West End the next year. The musical tells the story of Matilda, a five year old who escapes her oppressive family and school life through books, and she eventually realises she has the power to move objects with her mind. The song I will be performing is called ‘Quiet’, which is in the second act of the musical. During this song, the audience see a true glimpse of what it is like in Matilda’s mind, and the process she goes through to contain her own anger. Just before the song Matilda’s teacher, Miss Trunchball, has been yelling at her class, until Matilda yells back. Miss Trunchball turns her attack on Matilda, who drowns out the noise and begins to sing to the audience. Throughout the song, Matilda becomes calmer, finding herself in a state of serenity. However, at the end of the song, Matilda is still holding onto some of her anger, and uses it to tip over a cup of water, containing a newt, onto Miss Trunchball. In my performance, I will endeavour to show the audience the chaos that is inside of Matilda’s mind, and how she does her best to control it, both through my vocal techniques and small physical movements.

This journal is about the musical piece composed by a man named Benjamin Britten titled The Young Person’s Guide to the Orchestra. This piece was surprisingly interesting to me as it created different feelings of emotions through the instruments volume, sync, and rhythm. I do like various instrumental styles of music, however, I was hesitant about listening to a classical style orchestra. Throughout the piece it seemed the sounds would constantly change, which reminded me of the early black and white cartoons that relied on classical style music to show the emotions they were trying to make the audience feel. For example, I remember a scene from an episode of the old cartoon Popeye, when there was fast paced instrumental music in the background while Popeye was saving Olive Oyl from a dangerous situation and they both were running to get to safety. The xylophone from Bitten’s composition is what made me think of that exact episode of Popeye and Olive Oly running to get to safety.

Cowboy mouth travel to Chicago, Illinois to perform at a concert, some of their hit songs to thousands of people. The mood of the concert

This song is similar to John Misto’s play ‘The Shoe-Horn Sonata’ as both of these text employ distinctly visual techniques to offer a variety of perspectives on the world, and to convey and create meaning. Both of these texts focus on the concept of survival and the effects of war. However, ‘The Shoe-Horn Sonata’ focuses on the effect of a female POW camp, while ‘I was only nineteen’ focuses on the effects of fighting on the active soldiers. In this song the audience is presented with an image of the effects of the war, and become emotionally invested in the story of the protagonist and become emotionally invested in him as they gain a personal insight into his life after the war. One example of distinctly visual elements in this song is the use of imagery. This is created so that the audience can form an image of the events being described and assist in the conveyance of the author’s message. This can be seen in the line “...and there’s me in me slouch hat and me SLR and greens”. This allows the reader to visualise the characters. This use of imagery allows the reader to become emotionally invested in the characters, as they feel like they were there with them. This makes the story seem more realistic. Another example of this is the line “and an Asian orange sunset through the scrub. This is a pun on the chemical Agent Orange that was used in the war. This makes the song seem more realistic as it incorporates authentic elements from the war. Therefore, through its use of imager, the song ‘I was only 19’ by Redgum effectively offers a variety of perceptions on the

Mexican-American corridos are songs that emerged due to the border changes and conflicts that arose in the middle of the nineteenth century. These songs were related to real people and events that encountered the oppression that was given to them. Overall, border corridos changed from being about “love and loss” to being about current border issues, entry of Anglo-Americans into Mexican territories, and other causes of tension between these two ethnic groups on opposite ends of the spectrum. (slides) The subject for the songs were known to have defied greater authority, have received help from the common

On November 4th, 2016, my best friend and I went to see the play at the Charles Winter Wood Theatre. This play is set during the 1950s, and the scene takes place in a night club in Chicago. This play was sponsored by FAMU’s Essential Theatre, and it was quite entertaining. It presents realistic situations such as the affairs, jealously, and debt in relationships. The director, Maurice Kitchen, wrote this play to present the Black artists who used their talent to escape the difficulties they have faced. The main character, Billy Gamble, was a show host and performer, who used his patients with musical talents to be on his show. Important aspects seen in the play were love and fame. The musicians expressed their feelings within their music.

Not everyone loves musicals as much as others, but most people can recognize when someone says “FEED ME” or “DON’T FEED THE PLANTS”. The well-known musical Little Shop of Horrors took over the Dubois Little Theater this December under the direction of Ms. Shannon McNutt. Little Shop of Horrors is a fun, musical about a “young botanical genius,” Seymour Krelborn, his boss, and future foster father, Mr. Mushnik, and the young, dramatic and attractive Audrey. Seymour was a shy and sheltered man until he found a strange and interesting plant, which he named Audrey Two after his one true love, Audrey. The musical follows Seymour as he tries to get his sentient, bloodthirsty plant to grow so he can reap the benefits, but his morals quickly catch up with him as he begins to lose everything that matters. I believe that this show was worthwhile to see and be part of.

As the title fades onto the screen a piece of percussive blues music is played to introduce the viewer to the type of raw music that this documentary would be covering. After a short clip from a Charles Kuralt interview, the director informs us about his deep admiration for Alan Lomax and gives reason as to why he is making the documentary. The first section of the film focuses on Lomax’s travels through Britain, interviewing the folksong collector that helped him with his work in the British Isles as well as a few of the singers he recorded. Tweed Waulking songs are used as a transition to the subject of work songs and Alan’s fascination with them. Film recordings of inmates singing penitentiary songs whilst they work are shown, as Alan recounts how he fell in love with this specific type of folk song.

Late, A Cowboy Song directed by Jane Barnette was an absolute thrill to experience. Everything from each of the actors’ performances to the intimacy of the stage left me in a sense of awe. It was all done so incredibly well. Choosing two specific actors to write this critique for was somewhat difficult given that there were only three cast members in the entire play and each one of them did an absolutely amazing job. The two that I did end up giving the most attention to were Jake Gillespie and Elsa Bernauer, Crick and Mary respectively. Throughout the play I watched both of these two to see exactly how they became their characters and whether there were any things that needed work. Let’s just dive into Jake Gillespie’s performance.

In this Chapter we got introduced to Country Music. We studied about the different types of influences that developed this type of music and also the most recognized artist that made Country Music famous. I specifically liked going over this chapter because I got to learn the story behind Country Music; how it all started. One thing that was interesting to learn about was the different type of rhythms within the Country soul.

Oklahoma!, Company and Look Back in Anger all shares a common theme between them which is ‘Romantic Love’. In weeks three, five and seven we discussed the two musicals and play and when i read through them I discovered the theme which occurred in all of them. The musical Oklahoma! written by the team of composer Richard Rodgers and librettist Oscar Hammerstein II is about two young cowboys in the mid nineteen-fifties competing for the women they love. The main couple are Curly and Laurley.

According to Rick Altman, American folk musicals have essential components: idealized depiction of ‘America,’ merge of past and present, depiction of the family, home, or community, and secondary conflict between two groups. Likewise, the Broadway musical In the Heights depicts the pursuit of “American dreams” and “home” as well. Therefore, audiences and readers start to question that if Lin-Manuel Miranda and Quiara Alegría’s In the Heights is a typical American folk musical that Altman describes or not. Thus, I will use evidence of songs, plots, and lyrics from In the Heights to prove that this musical piece partially fulfills Altman’s definition of American folk musicals.

In 1911, the book “The Phantom of the Opera”, written by Gaston Leroux, was published. In April of 1929, Universal Studios premiered a silent, black and white film based on the book (The Phantom of the Opera Website). “The Phantom of the Opera” went through many more stages until it was able to become the Broadway musical that we know today. In 1930, dialogue and music was added to the silent film and later in 1945, it was rewritten and produced in technicolor (The Phantom of the Opera Website). In 1984, Andrew Lloyd Webber came across a review of a stage adaption of the book that was being produced in Stratford and he contacted Cameron Mackintosh about turning it into a musical. Just a year later, a draft of the first act of the