Performance Report 2

The art of storytelling through song is a living art form and one that has truly withstood the test of time. It is an art form dating back to 5^th century B.C. where the ancient Greeks used it as a pastime much like that of today. They used huge open-air amphitheaters to incorporate music and dance in their stage tragedies and comedies. Spanning time for over 2500 years, musical theater has remained quite true to its original identity. Side Show the musical, a modern day performance, is a story of the lives of conjoined twins Daisy and Violet Hilton. The story is set in the 1930s and confronts issues of love and identity while the Siamese twins take on uncharted territory while pursuing fame as a musical act.

An original Broadway production, Side Show the musical was brought to us by the UT Dallas School of Arts department and the production was held from April 8-17, 2010. For the purpose of this review, the focus will be on the production that took place on the evening of April 16. Not hindered by the admission fee, a huge crowd turned out for the performance. The audience ranged from young to old in terms of age. Most individuals appeared to be current UTD students as well as a few past students of the Arts program showing up for support evenly dispersed throughout. There were also many large groups of people attending together and last but not least, there were quite a few parents in the turnout. The theater itself was not immense yet it was a large enough stage to effectively present a production of this magnitude and not leave the audience feeling over or underwhelmed. The theater was an excellent choice venue for the musical as the size was also quite perfect for the soundscape of the musical. The theater was greatly insolated and the reverberation had a nice even balance, not too much and not too little.

The performers came across as very authentic in their delivery and overall appearance on stage. The attire was era and event (circus acts) appropriate and highly characteristic of the individual parts. For example, there was Jake the cannibal who was disfigured with scars and wore almost nothing but a drab fraction of clothing, which really played into the fact that he was a savage. Alternatively, there were Buddy and Terry who were adorned in suits and displayed money like the businessmen they were. Further, the entire stage space was used by the actors who seemed to always be in constant motion throughout unless there was standout solo or duet in which the actors would take center stage while standing in place.

The musical consisted of two different acts. The first act served to be the inspiration and cultivation of the Siamese twins as a viable act while the second act shows them getting past the transition as seasoned performers trying to make it on their own. The orchestra was not really inclusive of the actual production but more so relegated to the background off behind some of the props. The music seemed to always keep pace with the performers never getting ahead or falling behind. Consisting of mostly wind instruments, most of the music was very light and not a lot of dark drab kind of stuff with the major themes sticking to a circus type of repertoire. A great deal of the music was kept to a low volume in order to not overwhelm the dialogue of the actors. The rhythm was pretty swift and upbeat in most pieces only allowing for a few to be slightly slowed and mystical for pieces such as “Come Look At the Freaks.” As for the singing, most if not all of it was straightforward. In order for the audience to understand the dialogue, the ornamentation and accenting had to be kept to a minimum.

All in all the musical was an absolute success judging by the amount of applause by the patrons. While the musical displayed an array of different emotions, it stayed faithful to the ideals of the original musicals orchestrated centuries ago and is sure to make its stamp in UTD’s unique history as well.

Gullah People Music Culture

The Gullah people come from a line of slaves that were made to work as manufacturers of rice in South Carolina and Georgia coastal plantations in the 1700s. Even today there remains many small rural communities in the islands just off these two states' coast and the people have managed to retain some parts of their culture and language from their African homeland. It has been said that because of the geographical climate and diseased environment in which the Gullah people were/have been subject to in this region, they have subsequently been able to keep their traditions intact.

Reminiscent of other forms of African music, the Gullah music primarily consist of drums. Also, like many other music cultures of Africa there is a great deal of dancing. The dancing seems to be highly organized and it is evident that tradition plays a great role among the performances. Most of their songs that include a vocal component is made up of some kind of chant or a collection of voices singing to the music.

Today, it is even more evident that the Gullah people are more determined than ever to fight outside pressures in preserving what remains so dear to them. Many developers want to come into the region to commercialize their way of life. However, the Gullah remain steadfast in their beliefs and traditions and continue to share their unique way of life with the rest of the world in hopes that others will recognize it's value as well.

Performance Report: Shakespeare in Song

William Shakespeare was a famous English poet and playwright. He is one of the most influential figures of English history and widely regarded as one the greatest writers of the English language. Even further, Shakespeare is known for his superior theatrical prowess. On the 26^th and 27^th of March, Friday and Saturday evenings respectively, the University of Texas Dallas Chamber Singers showcased a rendition of collection of Shakespeare art entitled “Shakespeare in Song” .

I attended the Friday performance that took place at 8pm that night. The showcase was presented in the Jonsson Performance Hall on UTD’s campus. The Hall itself was not that big, but not miniature either. The stage was big enough to hold a piano, a set of bleachers big enough to hold about a 15-20 piece choir, their accompanying equipment, and lastly a small space for acting out their scenes. The performers were all students either serving as Chamber singers or another part of the performance art program at the university. Since performance is incorporated into these individuals’ curriculum, I believe it was fair to say that they were effectively seasoned in their respective roles with very few mishaps.

On stage, there was the pianist, the director, and the performers. The pianist was off to the left side of the stage enough so as to not take away from the performance but also not far off as to be relegated to the background. Everyone on stage dressed in period clothing, which served to promote a greater connection with audience and really make the context of the performance more engaging.

The entirety of the show was done in two different segments with a brief intermission in the middle. Total, there were 16 different acts and 17 individual pieces performed within them. All of the classical pieces were composed of the pianist and either a soloist and/or choir. There was great variety in moving between pieces. As far as arrangement is concerned, the pianist was the constant throughout with no acapella performances. There was a great amount of contrast between each song in terms of tone, texture, etc. I noticed that each piece went back and forth between dark and gloomy to light and joyful tones while progressing throughout the overall program. With these transitions, there were also differences in the tempos and volume. The increase correlating with the happy feeling music and the decrease effect attached to the darker pieces. In some songs, there was even varying lyrics with the chorus. For instance, the sopranos sang something different from the tenors. I also believe that the piano was pivotal in these transitions, usually playing more intricately in the lighter pieces providing multiple layers (which happened to be where the choir came in most of the time) and fewer layers in the darker performances.

I think it’s worth mentioning that the overall demeanor of the performers was quite composed. There was really no deviating from this unless there was a soloist or there were lines to recite. There was very little grand gesturing on the part of the director. She used little nuances that told the performers when to begin and end, and she gave ques as to when the audience could pay their respects in the form of applause. The audience mostly consisted of students and Chamber Singers of years past. The performance hall was about 40 to 50 percent full I would say and the majority of the students were there on assignment as evidenced by the note taking.

Overall, the performance was a success. The pieces varied enough to keep the audience engaged but similar enough to keep within the parameters of the theme.

Aria---"Largo al Factotum" from Rossini's Barber of Seville

This is the aria "Largo al Factotum" from Rossini's The Barber of Seville performed by Hermann Prey while portraying Figaro the barber. This opera is considered one of the greatest comic operas of all time. Hermann Prey was a German baritone singer. He was most famous for his light comedic takes in many operas throughout the mid twentieth century. While I'm not an opera enthusiast, I easily recognized this song from many movies that I've seen in the past and even from a Tom and Jerry show that I watched in my earlier years. That familiarity attests to the fact that Italian operas have played a major role in the development of Western world arts.

When listening to this clip, its very apparent that the music is not taking a back seat to his vocals. The texture of the music is very layered which the crescendos and decrescendos are to thank for this effect by their frequent use throughout. Great amounts of punctuation lends itself to many short cadences in the song which kind of give way to a very jovial, energetic, and comedic emotion which was the intent of the composer. The tempo is really fast and some ornamentation exist again lending itself to the nature of the opera.

Avatar Music Culture

I have to admit that quite some time has passed since I went and saw Avatar at the theater. In preparing for this blog post I enlisted the help of the soundtrack to bring the memories of the unique imagery and soundscape that I so thoroughly enjoyed back to life. At first listen, it was rather easy to delineate what was specific to the film score and what was associated with the Na'vi culture. Then as the listening progressed, I noticed that some of the elements that were unique to each side were intertwined at some points. For the most part the songs that portray aspects of the film score contain sounds that can be heard in western culture. More specifically, the film score music component was intended to propel the movie forward and to drive human emotion through whatever scene that was displayed at the time. (Example: The song "War" used in the confrontation between Na'vi and humans). On the other hand, we have the Na'vi perspective where heavy use of membranophones were used. A lot of the sounds coming from this perspective were reminiscent of African tribal cultures and the chanting that took place provided an authentic indigenous experience which was the goal of the director.

Music Ethnography:"Jazz in the Atrium" @ The Dallas Museum of Art

A Musical Ethnography:

“Jazz in the Atrium” in the Dallas Museum of Art

Introduction

Originating at the onset of the twentieth century as a fusion between African and European music traditions, the music genre of Jazz quickly claimed its indelible perch in American history. Amazingly, the art of Jazz has and will forever remain unrestricted in terms of its definition, composition, performance, and its location. Besides its ability to create and maintain a centuries’ worth of unique American cultural significance, Jazz has transcended many other markets around the globe. Moreover, the genre has served to captivate audiences by enlightening and broadening the scope of music all the while conspicuously assuming a part of the world music canvas. In narrowing the focus for the purpose of this musical ethnography, great attention will be paid to the influence Jazz has consigned to the city of Dallas, Texas. In particular, the weekly event entitled “Jazz in the Atrium” hosted by the Dallas Museum of Art will serve as our backdrop. The goal of this research is to show that despite the daunting significance Jazz has on the global scale, its relevance and since of originality can still be heard and enjoyed in small, intimate urban settings.

Setting and Methodology

In the beginning, the decision on the location of the research was somewhat overwhelming. I wanted to secure a venue that was classy yet casual, and large enough for a great experience but small enough for a personal touch. The Dallas Museum of Art was chosen because of its location, familiarity, and convenient event scheduling. The physical location of the event within the museum is just inside the main entryway. Across from the main information desk, you will find a vast open area that could accommodate approximately three to four hundred people. The stage is up front and center with smaller dimensions that are not necessarily proportional to the room size. Just in front of the stage are chairs and tables for patrons. To the rear of the seating area are a small mini bar and eatery for guests to enjoy an evening meal and cocktails while being serenaded. Thursday February twenty-fifth was the official day the field aspect of my research took place. In typical fashion, Dallas weather was predictably crazy and the skies opened up while the rain fell. Given the weather conditions, most would think that the audience would be scarce, while in fact the opposite was true with very little room to spare. The event was very casual in nature with people mingling and eating. There was great diversity among patrons with young to old and singles to families. The crowd was very energetic. One couple even jumped up from their seats and started to dance.

From the onset of this project, I knew most of the material research would draw from print resources while relying on one solid personal interview to serve as support. It was my objective to obtain as much information as possible about the activities involving music, the repertoires and material culture of music, whereas the interview was mostly geared to the individual’s definition and ideas of his/her music culture. Having established the setting of the event, the focus will now shift to the flow of the event itself.

Aspects of This Music-Culture

The weekly jazz sets start at six o’clock p.m. and last until approximately eight o’clock p.m. I arrived well in advance of the start time with a guest in tow. I was informed that if I arrived early there might be an opportunity to speak with a musician during set up, so such were my intentions. Fortunately, this was the case and I had a brief opportunity to conduct an interview. The musical guests that evening were a Dallas based band known as Fingerprints and were led by saxophonists Claude Hardrick. In addition, to the tenor saxophone, there was a flute, keyboard, bass, and drums featured. Much of their sound was heavily infused with Caribbean and Latin flavor. All of the songs they chose to play were upbeat and the saxophone took the melody most of the time. A tremendous portion of each of their songs consisted of improvisation, where each musician would take a turn and go wherever the music led them. In some cases, a piece would go on almost ten minutes without a traditional melody while the band was feeding off the crowd’s response to their improvisation. The crowd really showed their appreciation after each segment in the form of applause.

To the untrained ear, most see Jazz as a boring uneventful type of music, which is often relegated to such labels as “elevator music.” On the contrary, most of Jazz music has complicated undertones and counterpoint melodies that make it rich in nature. In the book A Jazz Improvisation Almanac, author Marc Sabatella points out that the counterpoint is a rhythmic component of jazz in which “several instruments are playing melodic lines at once, each with a different rhythm” (Sabatella). Additionally, the syncopated nature of the genre usually promotes a since of swing and pumps up the rhythm. Syncopation refers to the style of rhythm where the emphasis/accents are placed between the beats rather than on the beat.

During the brief time before the concert, I posed a few questions about the culture to which Mr. Claude Hardrick belonged to get more insight into his perspective. Since most of the music his band had been known to play was influenced by rhythm and blues music, I asked him could their music be classified as “Urban Jazz” (a confluence of R&B and Jazz). His response included, “Everyone has an opinion about our music. Instead of worrying about the definition we focus on playing good music.” I followed up that question by asking him what role the music played in his life and in the role of the current setting. He in turn responded, “Music has been like the glue that has kept the pieces together. Without music there is no me. Now , at events like this and especially since we are home, our fans appreciate us so much more and it’s our privilege to give what we love. Settings like this really speak to why we do what we do.”

In terms of the activities about music that this culture portrays, much of what you see is what you simply get. Jazz within this context is much like that of all other places because it is a style of music about expressing who you are and ushering up a sense of relaxation and being laid-back. Much of the message that comes through jazz transcends all differences and unites people. This was evident at the event where there was a scene of people laughing, talking, dancing, etc.

The Dallas Museum of Art jazz culture isn’t exclusive in terms of the repertoire but more so the setting itself. The subgenre of Jazz that was played called Urban Jazz fits well in this setting because of the location and personable setting. The music had a way of just taking over and moving you through different emotions. As mentioned before, some were inspired to dance, another woman near me began to stand and clap, and for me it was very soothing after a long day of work and school.

The material culture in a setting such as this is distinctly more informal with a “do as you may” type attitude. The equipment was rather limited in comparison to what you might see at a concert at the American Airlines Center. The material culture is the area that probably provides the most difference between other music culture environments that share the same environment.

It was a great pleasure to be a part of this personal growth and learning experience. Never having attended such a personal affair where Jazz was concerned really moved me and taught me that the setting can truly make all the difference. More specifically, my research exemplified my initial claim that Jazz is not confined to restraints of a particular definition or standard. Conversely, Jazz is a free spirit that takes many shapes and forms and moves from the musician (producer) to its audience ever changing.

Works Cited

Hardrick, Claude. Personal interview. 25 February 2010.

Sabatella, Marc. A Jazz Improvisation Almanac. Outside Shore Music. 2000

Music Ethnography Difficulties!!

Throughout this project, it has been my experience on every level that the Dallas Museum of Art was easily accessible. The program in which I attended, Jazz in the Atrium, is a weekly series that takes place each Thursday evening. The events are well organized and very casual in setting allowing for individuals and families alike to partake of the music after they view the art galleries and/or while they sit for a quick bite. The admission prices for the museum are very reasonable and even more so for students with an identification card presented. In terms of location, the museum is just off the downtown area so navigating to the location was a piece of cake.

On the other hand, the venue was quite populated and probably even more exacerbated by the fact that we were in for a real treat I suppose. Fortunately, it is so true that the early bird gets the worm! I say this because soon after the Jazz set started the atrium area became overcrowded. Because I arrived early I was able to acquire seats that were next to the stage and talk to one of the musicians briefly. Other than the accessibility of the musicians themselves and the crowded venue, I would say that my music ethnography is coming along quite nicely.