On Friday May 7, 2010, School of Arts and Humanities presented the Jazz Band II's performance at the Jonsson Performance Hall. This was one of the many performances by different musical ensembles as part of the Spring Arts Festival at UTD. Following the performance of electric guitar ensemble, the MUSI 3386 jazz band members walked onto the stage already prepared with chairs and music stands. The student ensemble consisted of a trumpet, an alto sax, two tenor saxes, a pianist, electric keyboardist, two bass guitarists, two guitarists (one of which was a faculty member), and a drummer. Of course, the music instructor was present in front of the ensemble but he tended to move aside after conducting only the first few measures for each piece. All of the performers were wearing black, which gave a sense of unification and professionalism within the ensemble.
The jazz ensemble’s repertoire was composed of nine unique jazz and blues pieces ranging from the 60’s to contemporary era. Notable characteristics of the pulsatile songs played were emphasis on upbeats/syncopation, sprinkles of improvisation by soloists, and series of ornamentations (trills, chromatic scales, arpeggios, and accents) added in specific modes whether major or minor. Other observations included meticulous use of dynamics, consistent implementation of motives and themes, and alternating solo parts (like question and answer) that gradually became more intense. The various tempos dramatically changed the tone of the music. The physical movements of the musicians were more obvious in fast-paced pieces which seemed to require one to tap with the rhythm on foot.
The audience members scattered throughout the seats mostly consisted of students who had come to support their musical peers. The audience showed a fair amount of support in general via applauding (and even hollering) after each segment of solos and duets throughout the repertoire and at the end of each piece. Some people were finger tapping or nodding along the beat of the music. The relatively small scale and austerity of the performance hall helped focus the attendees’ attention on the dozen or so performing artists who filled up the stage. Some audience members left their seats in the middle of the program as the schedule was delayed. Considering the evening timing frame, I bet many people, especially the ones who had been staying since the electric guitar ensemble’s performance, were getting hungry and antsy.
Side Show the Musical is a musical based on a true American story about conjoined twins Daisy and Violet Hilton who achieve a great fame during the 1930’s transitioning from circus actors to stage performers of vaudeville. UTD’s production of Side Show was a work of collaboration among faculty, students, and other affiliates of the School of Arts and Humanities. It was performed six times in the course of two weeks from April 8th to 17th at the University Theatre.
Music
Given that this show was a musical, it was obvious that each scene featured a unique, yet sometimes familiar and even repetitive song. Most of the singers sang with a significant amount of vibrato and dynamic elements corresponding to the tone of the scene. The overall timbre and rhythm suggested the music of post-World War America. All kinds of musical instruments including chordophones, membranophones, aerophones, and idiophones were utilized for each scene. There was a distinguishable theme of melody that could be acknowledged for the twins every time “themes of self-acceptance and identity” were presented (program notes). Often the chorus accompanied the leading solo or duet in harmony creating homophonic sound, but when there were just a duet a mixture of polyphonic and heteophonic sound was created.
Performers
The actors themselves were not the only ones performing on stage for this musical. Facing the orchestra was set up on the backside of the stage with two rows of musicians behind each board blocks that only showed the musicians from the shoulder up. The board blocks were painted red and yellow to blend in with the similar colored stage backdrop and curtains, which gave the stage as a whole the feel of a circus show.
The performers thoroughly used props to help establish different settings for each scene. For instance, during the scenes set at the Texas Centennial, there would be a huge banner that read “Texas Centennial” set in the middle of the stage. In particular, the Fat Lady seemed to be in charge of changing the sign that indicated each setting, which was quite helpful for the audience in keeping track of the scenes.
The lighting and visual effect shaped the focal point of the stage environment. For example, whenever there was a solo performer on stage, the spotlight would help focus the attention of the viewers on the soloist. Other lighting effects contributed to the aesthetic appeal of the performance through use of movement and alternating colors.
As for the actors’ physical contribution to the show, each character in corresponding costumes doing choreographed dances and gestures enhanced the show aspect of the drama. Of course, the conjoined twins moved around the stage literally joined at the hip. The singers tended to sing their parts with animated gestures and facial expressions to gain the emotional appeal of the audience.
Audience
The audiences at this show consisted mostly of UTD students, many of whom probably attending for the same performance report assignment. This musical was open not just to the UTD students for free but also to the general public for a ticket fee of $20. Throughout the entire show, most people was courteous and supportive of the performers on stage, especially after each solo or duet highlights by the main characters such as the twins, the boss, Jake, Buddy, and Terry. I could perceive that the performers’ acting, singing, and choreograph had impressed and satisfied the audience as the performers were showered with standing ovation and even some whistles and hollering at the end of the show.
Time and Space
I attended the very last performance of the musical, which took place on Saturday, April 17th, at 8:00PM. Although this particular evening was rainy and cold, many students came to the show regardless of the inclement condition. The start of the show was a bit delayed to welcome in as many “latecomers” as possible. The people seemed to be having high expectations for the quality and spirit of this particular showing of the musical since it is the last one, which means that the cast and crew must have had plenty of “practices” before this one.
The theatre itself is certainly not the largest venue available for this musical, but the feel of enclosed environment helped provide a close mental and even physical interaction between the performers and the audience. For example, in the “Come Look At The Freaks” scene, the freaks entered onto the stage from the audience entrances, which created an effect of audience involvement in the musical. Also, the boss character’s direct verbal communication toward the audience generated a sense that the audience was part of the show.
Conclusion
Overall, the musical was a cooperative performance of visual, musical, and emotional appeal composited by meticulous teamwork of stage and tech crews, orchestral musicians, and stage performers seeking to take the audience on a journey of self-discovery and tolerance.
Works Cited
Side Show the Musical. By Bill Russell and Henry Krieger. Dir. Kathryn Evans. Cond. Winston Stone. University Theatre, Richardson. 17 April, 2010.
Program notes. Side Show the Musical. 17 April, 2010. Richardson: University Theatre.
Alternative rock is a British/American subgenre of rock music that emerged in the 1980’s and became widely popular during the 90’s. This particular style of rock had its groundwork laid out by punk rock of the 70’s. Although a handful of alternative rock artists established considerable fame via mainstream recognition, most of the artists of this subgenre remained underground through independent labels, word of mouth, and college radio broadcasting. Nevertheless, with the sprawl of American grunge and Britpop movements in the 90’s, alternative rock gained mainstream fame and commercial success. As with general rock music characteristics, alternative rock music consists of prominent use of electric guitar, emphasis on singing in a small ensemble, distinct four-beat system, and simple harmonic progressions. However, what differentiates alternative rock from any other rock forms is that its lyrics tend to address themes of social issues rather than delicate topics of romance. Subjects involving drug abuse, depression, and environmentalism seem to have been developed as a reflection of the societal and economic stress in the United States and the Great Britain during the past decades. Also, alternative rock could be referred to as an umbrella term for a wide range of rock subgenres including the sounds of dirty guitars (grunge), gothic rock, Britpop, and twee pop.
The alternative rock/grunge band Nirvana’s “Smells Like Teen Spirit” from the hit album Nevermind is a good example of alternative rock music that illustrates a rather dramatic change in dynamics from verse to chorus.
0:00 - the lead guitarist starts off the music with the main chord pattern
0:08 - as the drummer comes in, the bass guitar joins as well and the main chords are heard loudly
0:18 - lead guitarist backs down to let the bass guitar carry on the melody
0:27 - lead guitarist starts singing the first verse
1:00 - start of the main chorus; singer's voice gets harsh/husky, music gets louder and exciting
(the "grunge" portion)
1:30 - back to similar style as in 0:18 and the cycle goes on with second verse
2:47 - after the second cycle, the guitars mimic the singing melody
3:10 - third verse starts
4:18 - continuation of grunge chorus with different lyrics (repetition of "a denial")
The Gullah culture in general seems to be a fusion of African and American cultures in terms of language, religion, crafts, and occupation. However, in order to save the unique culture of their West African ancestors, the Gullah people are striving to promote and educate their historical way of life through The Gullah/Geechee Nation International Music & Movement Festival.
As seen in the video clip, the exclusive use of drums and clearly coordinated dances in their music performance suggests images of typical African tribal music culture. It appears that grasping the essence of Gullah music is all about “rhythm and celebration.” I assume they are celebrating their proud culture and the fact that they are free people with rights in America.
Many of the musical performances seem to take place at a church or some type of Christian gathering. It is important to keep in mind that although the Gullah people have adopted Christianity, they still retain their unique beliefs/superstition and customs. Female Gullahs tend to sing funeral songs that are passed down through generations. Particular songs are sung in English at times and almost sounds like some type of rally/spirit songs as a group of people follow after each phrase that the soloist sings. Perhaps such characteristic of music helps these folk unite through a shared culture that defines and enriches their lives as the Gullah of America.
On April 9, 2010, at 7:00pm, the International Student Services Office and Global Village, an international student organization, held their annual International Talent Show at the UTD Conference Center. The audience, slowly but surely filling up the seats, was mainly full of students, many of whom were close friends and fans of the performers. Throughout the show, the audience showed a lot of support via applause, whistling, and tremendous amount of hollering.
The event showcased 10 different performances including Mexican, Bengali, Filipino, and West African songs and dances. The performers were all dressed up in traditional costumes of their particular culture, and sometimes, props and musical instruments were used to help convey certain ideas or messages. For example, the Bangladesh Student Organization waved about their national flags to promote pride in their nationality. The Loud & Proud Punjabis performed Bhangra Dance with one guy playing a loud drum to cause commotion and excitement in the environment.
In terms of music, each performance was culturally unique but the audience was able to associate with most of them because of pulsatile beats and catchy tunes that were already familiar with some. The most unique music in my opinion was from the West African dance performance because it consisted of percussion instruments entirely and it seemed to highlight the aggressive movements of the male solo dancer. On the other hand, the most familiar music was incorporated by the Filipino Student Association’s hip-hop/modern dance collaboration. Today’s American pop music, such as Rhianna’s Rude Boy was played.
This show was intended to present the cultural and ethnic diversity of UTD student body through quality performances of song, dance, and acts. Under the campus roof, students from all kinds of ethnic backgrounds were united in this musical entertainment of the evening.
As I have mentioned on my previous blogs about the Dallas Symphony Orchestra (DSO), the prolific organization of professional musicians has countless events and performances in store for the public and patrons whether they appreciate classical or other popular genre of music. Different guest conductors and musicians are often featured in many of the DSO concerts, which makes the experience suitable for a wide variety of audiences. On April 2nd and 3rd, 2010, the DSO held one of their Pops Series concerts – Symphonic Oscars – at the grand performance hall of the Meyerson Symphony Center.Each concert started at 8pm and lasted about 2 hours. I personally attended the opening night’s concert.
This particular concert featured a variety of famous film score music from some of the most cherished American motion pictures of all time. The repertoire included music from Ben Hur, The Godfather, Pinocchio, Gone With the Wind, Pocahontas, The Wizard of Oz, and more. Most of these, if not all, were meant to be recognizable to the audience who has either seen the movies or listened to their soundtracks. Each piece in the repertoire helped visualize the corresponding scenes from the actual movies. For example, listening to the “Parade of Charioteers” from Ben Hur, it was effortless to envision the Roman charioteers preparing for the deadly race for glory. The march-like, pulsatile rhythm, wide range of notes, catchy, definitive theme, and loud timbre of the heterogeneous ensemble of strings, winds, and percussion all contributed toward captivating the attention of the audience’s ears. On the other hand, some of the more quiet and mellow pieces, such as Suite from The Godfather, could be distinguished with more of a flowing melodic contour, smaller range of notes, slower rhythm, and emotional collaboration of cadences and phrases.
The Dallas Symphony Orchestra itself performed for the entire concert, but guest conductor Richard Kaufman led the ensemble. Not only the energetic conductor, who was constantly waiving his arms about at the orchestra, but also all of the other performers showed genuine enthusiasm in their work through each piece by moving with the flow of the music, which was sometimes gentle, and sometimes dramatic.Whitney Kaufman, who happens to be the conductor’s daughter, came out on stage as the vocal soloist for “When You Wish Upon a Star” from Pinocchio, “Whatever Will be Will Be” from The Man Who Knew Too Much, “Over the Rainbow” from The Wizard of Oz and more. The singer in particular tended to “act out” parts of lyrics for the more “exciting” songs with a mike in hand rather than setting it on the mike stand so that she could freely move around while singing. Her musical-like performance using various facial expressions and specific gestures effectively delivered the emotional range and musical elements to the audience. The stage presence of the performers was obviously professional since all members of the orchestra were wearing black in unison as if to highlight their shiny instruments and the sound projected from them. The vocal soloist, however, wore a flattering blue dress for the first half of the program, and then changed into a green one for the second half. It made sense that the soloist should be visually unique from the rest of the ensemble.
This particular excerpt from Rossini’s famous Italian opera The Barber of Seville features the main character Figaro(the barber)’s aria. This scene is known as “Largo al Factotum,” or “Make Way for the Factotum,” generally follows the traditional scene structure of Rossini’s operas.
Of course, the instrumental ensemble consists of full symphony orchestra dominated by violins and other string instruments with woodwinds. The music starts off with the orchestral introduction as Figaro walks onto the stage and sets up his props. Then, he begins singing his lines and recitatives. Although the cantabile section was hard to distinguish since most of the time the music was fast-paced, tempo di mezzo and cabaletta towards the end could be observed. On top of the constant singing of triplets in 6/8 meter at a presto tempo, the explicit use of Italian superlatives ending in ‘-issimo’ add some challenge to the rather tongue-twisting nature of the lines. Such a demanding performance of this aria highlights all qualities of a skilled baritone. The music in general portrays the personality of the character effectively with its lively and exciting tone and pace.
The performers in this scene include the village people as well although they remained silent the entire time. They mostly act out the choreography intended to show enthusiasm and praise toward the “factotum of the city.” Surrounded by the crowd, Figaro himself moves around the stage with confident gestures and facial expressions as he sang his aria. The one particular element unique to this performance is that the environment of the stage including the backdrop, props, and the outfits of the performers is all black and white. The lack of color helps focus the attention of the audience to the moving characters and the song of the scene.
