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This essay is about song analysis.
Now that the characters are established and the plot is underway, takes a moment with "Those Magic Changes" to explore the show’s central themes, to underline the importance and centrality of music in this story and also in the show’s social commentary. Closely based on Paul Anka’s "Diana" and its distinctive bass line (you can actually sing "Magic Changes" to "Diana"), it also includes those distinctive falsettos vocal ornaments that pay homage to songs like The Diamonds’ comic doo-wop hit, "Lil Darlin’." Doody starts off solo, then the girls join in, then the boys join in, then two of the boys take off on those falsetto riffs, giving the whole song the tang of improvisation, as if these kids are just fooling around between classes. This is part of what gives such a unique feel, unlike almost any other musical.
Feeling/Tone * What literary devices are used?
* How does their use affect the meaning of the song?
Example: Consonance is the repetition of consonant sounds.
However, to a musician there's a lot more to it.
But the song also tells us that Kenickie doesn’t really know much about drag racing or about customizing cars. A true drag racing enthusiast knows that the accessories Kenickie dreams of don’t all make sense together. For example, the "four-barrel quads" refers to a carburetor, but a car with fuel injection (as in his "fuel injection cut-off") doesn’t have a carburetor – those two things would not be on the same car. And no one would chrome-plate connecting rods; chrome-plating was just for show and nobody can see connecting rods on a car. And though palomino leather was popular for car interiors, no one would put palomino leather on a dashboard. Finally, a kid in 1959 would make his car look good go fast; no kid had the money to do both (although you could argue that this just a fantasy). In fact, a drag car that looked good was the sure sign of a driver who wasn’t really serious about racing. It’s safe to assume that Kenickie probably knows very little about cars or drag racing, which gives this lyric far more complexity, humor, and character detail than it seems.
The next song, "Freddy My Love" is the show’s female doo-wop number, with a lead melody and rich harmonic back-up, closely based on "Eddie My Love" by The Tea Queens, while also slyly parodying The Shirelles’ "I Met Him on a Sunday" and Ronnie Spector’s "Be My Baby," reinforcing old female stereotypes while also undermining and revising them. The driving triplet accompaniment here was a common beat in early rock and roll, invented by Fats Domino for "Every Night About This Time." They’re living in the 1950s, but these are women of the 60s. The idea of the other girls becoming back up singers for Marty shows us how much they love the girl doo-wop groups, an entirely new phenomenon at that moment that would become huge in the 60s. The Ronettes were the first "slutty" girl group to make it big singing rock and roll. They were what the girls wanted to be (to get the guys) and what the guys dreamed about getting. "Freddy, My Love" is a song about early feminism, about women being sexual and aggressive. But it’s also about the materialism of the 1950s, a mindset in which money is better than sex, and gifts are the only true expression of love. And the idea of Marty singing to a guy stationed in Korea references the fact that Elvis was still in the Army overseas at this point, a sad fact for many teenagers.
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But perhaps it’s time for in its original formto return at last, in this new Age of Ironic Detachment. In 2005, Norman Lebrecht wrote about the new postmodern musicals () in his online column: "The music in each of these shows amplifies this element of separation, licensing us to stand apart from what we are seeing and enter a third dimension where each of us can individually decide whether to take the plot literally or sardonically, whether to take offense or simply collapse in giggles. This degree of Ironic Detachment is the very making of the postmodern hit musical. Ironic Detachment would be unattainable in a Tom Stoppard play because I.D. requires musical inflexion; it is impossible in opera and ballet, which are stiffened by tradition against self-mockery. Its application is unique to the musical comedy, an ephemeral entertainment which has found new relevance through its philosophical engagement with 21st century concepts of irony and alienation." Still, Ironic Detachment isn’t entirely new in musical theatre – we’ve seen it before, periodically over the twentieth century, in (1928), (1931), (1937), (1950), (1959) (1961) (1965), (1966), (1969), (1970), (1973), (1974), and yes,
Over its life, gave starts to many now well-known actors, including John Travolta (who had begun as Doody in the first national tour), Richard Gere, Treat Williams, Patrick Swayze, Adrienne Barbeau, Barry Bostwick, Jeff Conaway, Greg Evigan, Marilu Henner, and Judy Kaye, among others. In 2003 the British television network Channel 4 held a poll to determine the greatest musicals of all time. won the top honor. In 2007, NBC created a reality show through which to choose the two leads for a new Broadway revival helmed by Kathleen Marshall, though any hopes of authenticity from a new Broadway were slight.
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The year is 1959, a pivotal moment in American cultural history, when rock and roll was giving birth to the Sexual Revolution and everything in America culture was about to be turned upside down. Record companies were releasing more than a hundred singles every week and the country was about to explode. , generally considered a trivial little musical about The Fabulous Fifties, is the story of America’s tumultuous crossing over from the 50s to the 60s, throwing over repression and tradition for freedom and adventure (and a generous helping of cultural chaos), a time when the styles and culture of the disengaged and disenfranchised became overpowering symbols of teenage power and autonomy. Originally a rowdy, dangerous, over-sexed, and piece of alternative theatre, was inspired by the rule-busting success of and shows like it, rejecting the trappings of other Broadway musicals for a more authentic, more visceral, more radical theatre experience that revealed great cultural truths about America.
Song Analysis Essay by Kristin McQuillan on Prezi
Like before it and which would come a year later, is a show about repression versus freedom in American sexuality, about the clumsy, tentative, but clearly emerging sexual freedom of the late 1950s, seen through the lens of the middle of the Sexual Revolution in the 1970s. It’s about the near carnal passion 1950s teenagers felt for their rock and roll, the first art form that actually human sexuality. (The phrase was originally African American urban slang for sexual intercourse, going as far back as the 1920s, and it made its way onto many rhythm and blues recordings before the 1950s.) As theatre, finds its roots in the rawness, the rowdiness, the lack of polish that made and other experimental pieces in the 1960s such cultural phenomena. The impact of on can even be seen in the two shows’ titles, both taking as their primary symbols the hairstyles of young Americans as a form of rebellion and cultural declaration of independence. Just as the characters of and reject conformity and authority, so too do both and as theatre pieces. Like, is an anti-musical, closer to the experimental theatre pieces of New York’s off off Broadway movement in the 60s, and light years from other musicals running on Broadway at the time, like (in a terrible revival), or .
Example Of Song Analysis Free Essays
Music has always been a part of human society. All societies on earth, from the primitive races living in near-stone age conditions to the most sophisticated elites of high society enjoy music in one form or the other. It has been said to soothe beasts and to calm raging minds. Of all abstract arts known to man, it mathematics and music are the most noble. However, music transcends mathematics since any individual with a sense of hearing can appreciate and enjoy music, while mathematics can only be enjoyable to professors, mathematicians and that is after years of extensive training and practice. Personally, I have a taste for the rock and roll music of the seventies, eighties, and early nineties, with bands like the Eagles, Bon Jovi and Nirvana being among my personal favorites.
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