Transcript Summertime: from Catfish Row to the LBC

Summertime:
from Catfish Row to the LBC
Interactions of Music, Text,
Performance & Biography
We began the year by focusing on ways
to “close-read” and interpret textual material.
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Then, we discussed ways of “close-reading”
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and interpreting the “signs” apparent
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in visual “texts.”
Now, let’s throw music into the analytical mix.
Music Analysis Sections from Dr. Morse, Ch. 18 of Writer’s Handbook
Objectives
• Critical Listening
• Compare & Contrast
v. Application
• Music Analysis
(from lyrics to sound
to image)
• Biography
On to Essay #6
• Essay #6 asks you to write sample program notes for the opera Porgy
and Bess. Program notes are the parts of an opera program that tell the
audience something about the plot of the opera and the composer's
biography (the life & times of Gershwin) to help listeners better
understand what they are seeing and hearing.
• What does someone who is coming to the opera who knows
NOTHING need to know about Gershwin and his historical context?
What do they need to know about Gershwin’s biograaphy that will
illuminate THIS opera?
• But, and this is where it gets difficult, how do you balance summary &
analysis?
• How do you get from “Gershwin went to Harlem and knew about jazz”
to…. “Where is that evident in the opera?”
• In order to answer this question and write stellar program notes you will
need to analyze the music! What are you hearing? What instruments are
used? Who is singing. Can you listen critically?
• Remember… Professor Moeller said:
“The evidence is in the music!”
Let’s Practice Critical Listening
• What is the connection between music and your identity?
• How does music function in your daily life?
– Do you “listen” to music or does it create “mood” or
“distraction” for you? Where do you “hear” music?
– When do you “listen” to music? Where do you listen?
• How does music function in film?
– Have you noticed a pattern between the “genre” or style of music on a
movie sound track and the themes in these films?
• What is the interaction between the “sound” and “lyrics” in a
song?
• Listen to the beginning of “Crossroad” and describe the “tone”
of the music you hear? (Listen)
• What do you anticipate about this song?
– What kind of film might it be featured in?
– Where might you expect to hear this song being played?
Lyrics
• Now, let’s listen to the lyrics…
I went to the crossroads, fell down on my knees
I went to the crossroads, fell down on my knees
Asked the Lord above, have mercy now, save poor Bob if you please
Standin' at the crossroads, tried to flag a ride
Whee-hee, I tried to flag a ride
Didn't nobody seem to know me, everybody pass me by
Standin' at the crossroads, risin' sun goin' down
Standin' at the crossroads baby, the risin' sun goin' down
I believe to my soul now, po' Bob is sinkin' down
• How does the “mood” of the music interact with the “lyrics” of the song?
• How does this interaction lead to interpretation?
• In music terminology is there a “dissonance” or “harmony”
between the “mood” and the subject matter of the “lyrics”?
– What visual imagery might you imagine with this song?
“Staging” the Song
• Let’s see how Coredump “staged” this song…
http://www.youtube.com/watch?v=Yd60nI4sa9A&featu
re=related
• What is your reaction to the song now that sound, text
and image are interacting?
• How does this “staging” impact your interpretation of
the song?
• Does the staging provide “evidence” for a thematic link
between lyric & interpretation?
Biography
• Now what if I told you that
Robert Johnson allegedly sold
his soul to the devil in exchange
for his musical abilities?
• How does this affect your
interpretation of the music?
• Consider this secondary
source:
http://www.youtube.com/watch?v=jK4p432
u8Ls&feature=related
• C/E/W:
– In what ways do the tone, lyrics, and
staging of Crossroads support a “soul
selling” claim/thesis?
– How would you “cite” the “evidence” of
this secondary source?
– Can you now “make” a warrant?
On to Opera…
• Consider the opening scene of the opera Porgy & Bess and be
prepared to discuss:
– The “mood” set by the music and libretto.
– How you would characterize the sounds you hear.
– How you would characterize the images you see.
– What the interaction is between the music and the images
you see.
– What dramatic effect this has on your interpretation of the
scene.
– What the interaction is between the music and the
performance and the visual cues (expression, staging, etc.).
– What dramatic effect this has on your interpretation of the
scene.
– How the interaction between music and image sets the
stage for the opera’s plot.
Let’s Practice!
• Remember Professor Moeller said: “The evidence is
in the Music.”
• So analyze the music:
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What are you hearing?
What instruments are used?
Who is singing?
Can you listen critically?
• And consider the “evidence”:
– Bess NEVER has her own music. She’s always singing
WITH someone or the community. This is how she
“integrates.” She doesn’t have a song.
– We have a story of masculinity. CROWN is hyper-masculine.
We have a BIG guy, but we also have BIG music.
– Porgy BECOMES Crown in the moment he strangles him.
This is told by the MUSIC.
Let’s Listen Critically…
• What do you hear?
– Tone, Mood, Vocals, Pitch, Sounds, Instruments, etc.
• Aaron Neville:
– Listen
• Bengt Jonsson:
http://www.youtube.com/watch?v=qmMM6Bseyx4
• Billie Holiday:
http://www.youtube.com/watch?v=h5ddqniqxFM&feat
ure=related
• Janice Joplin:
http://www.youtube.com/watch?v=dgFWibrTAKQ
Modern Summer?
• Now consider this song… what does it tell
you?
• Listen
• Do you think the “makers” of this song
watched and/or were influenced by Porgy &
Bess?
• Is it a “sample” or does it speak to the
themes of an “updated opera”?
• How do you know this?
• Where is the evidence?
Your Turn…
(For some good practice)
• Consider your favorite song.
• Consider what you know about the
staging of the video, the tone of the
song, and the biography of the “maker.”
• Now write 2 paragraphs (one about
why you like the song the other
addressing the previous points).
• You have 6 minutes. GO!
On Thursday…
• Attend Prof. Moeller’s lecture and consider
what he has to say about race.
• What is biography?
• What are historical and responsible ways of
using biography?
• Who gets to “claim” culture?
• Who gets to “make” culturally?
• What are the restraints on makers?
• Consider Eminem and his “political songs.”