DOCSLIB.ORG

Musical Theatre in America

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Theatre in America Musical Theatre in America Richard Davidson INTRODUCTION We all have a soundtrack to our lives. It’s filled with special songs that serve as mnemonic devices, exclamations of love, and sweet escapes. In his succinct and wonderfully eloquent fashion, Sir George Martin reminds us that music ―helps us remember and it consoles us when we want to forget. In fact, it’s difficult to imagine an existence without music.‖ Aside from musicians, I cannot think of a group that makes music such an integral part of their lives as do adolescents. The well-crafted lyric melded with an accessible tune often creates powerful emotions, which touch a listener in a profoundly personal way. An artist’s song somehow becomes ―ours‖ or ―mine.‖ While many of us lose this intimate connection to music as we grow older, it is an integral part of adolescence. In a similar manner, creativity and self-expression are important to children of all ages. Likewise, aside from artists, this need for self-expression often wanes with age. To see just how important creativity is in our students’ lives, all we have to do is look at children drawing while they should be doing their class work, folding origami during their ―free time,‖ and dancing and singing in the hallways between classes. In Martin’s Rhythm of Life, Bobby McFerrin could be speaking for the children in my classes when he says, ―I think it’s a primal need, a food … that’s simply there for us. And we must sing, we must play, we must dance, or we die.‖ I plan on capitalizing on McFerrin’s ―primal need‖ and creating, with my students, an ethnic musical. The overall learning potential in such a project is phenomenal. Students will explore the extensive history of musical theatre in the United States and analyze and interpret the figurative language of poetry and song, while acquiring the technical and performance skills of theatre. HISTORICAL INFORMATION Native American Ritual European-style musical theatre has a long and varied history in America. But long before Europeans came to America, Native Americans had established a unique style of ritual musical performance that was highly symbolic and complex. Richard Crawford points to the first-person accounts of French priests, traders and Spanish conquistadors who experienced, and sometimes participated in, Native healings, peace pipe ceremonies and ritual blessings. One particular healing ceremony that Crawford describes, performed on a Jesuit priest in 1634, has all the trappings of a musical spectacle: special costumes, choreography, music, astounding (and at times frightening) vocalization, and 1 improvisation based upon an unwritten script. In these ceremonies, there seems to be no little or no distinction between what we would refer to as the performers and audience, with everyone in attendance joining in the singing, drumming and dancing in order to assist in the healing process. Similarly, the Calumet, or peace pipe, ceremony was one in which there was no ―audience,‖ per se. During the ceremony, the precise movement of the dancers was determined by the tempo of the singers, and a mock battle was fought in time to the slow beat of a drum. One contemporary account states that the dancing was suitable for ―a very fine Entry of a Ballet in France.‖ Another French chronicler of the Calumet ceremony describes the pipe dancing, where each person in turn takes the pipe and dances with it, to the cadence of the songs. The lead dancer displays the pipe, turning around so all can see it, while executing a wide variety of pipe movements and dance steps. Crawford stresses the strong narrative quality of the dance, another essential element of theatre. The Chickasaw house-blessing ceremony is also filled with music, dance and symbolism. A description of one such ceremony, told by a trader, details the movement, singing and even the direction the shaman faced during the blessing. The shaman began the ritual bent halfway over, with arms spread out to the north and south for a minute or more. Suddenly standing straight up, and glancing fearfully from the southwest to the north, he began to gutturally sing short phrases, changing the accent and pitch as the phrases were repeated. From time to time, he looked upward, with his neck contorted backward. In this ceremony, which lasted about 15 minutes, the shaman was humbly asking the Great Spirit to protect the trader’s home from any ―evil spirits of the north, south, east or west.‖ The trader did not understand the symbolism, or indeed the meaning, of the ritual until the shaman explained them to him. Another blessing was performed prior to beginning trade transactions. Crawford relates the story of William Beresford, whose diary details tales of trade and travel near present-day Sitka, Alaska. In the late 1700s, Beresford transcribed a Native trading song, specifying solo vocal parts for the leader. He describes the leader, who wore a ceremonial robe and shook a stick rattle that had bird beaks and berries dangling from it. The leader began each of the many stanzas and then the rest of the tribe joined in, harmonizing their separate part on top of his. This ritual combination of music, voice and dance continued for half an hour, accompanied by clapping and keeping time with paddles. As the priest healed by the Huron tribe said, ―all their religion consists mainly of singing.‖ Ballad Opera and Olios As early as 1732, European-style musical theatre was being performed in the American colonies. One of the first such productions was the English import The Beggar’s Opera. Daniel Kingman tells of the first Colonial theatre, built in 1716 in Williamsburg, Virginia, and the use of musicians in the playhouse from ―the very beginning.‖ He explains that nearly all the productions were, loosely speaking, musicals. Even such 2 works as Shakespeare ―were usually presented with interpolated songs, dances, and incidental music.‖ Though another ballad opera, Flora, or the Hob in the Hole, had been performed in Charleston, South Carolina, a few years prior to The Beggar’s Opera, it’s generally accepted that the 1746 production of The Beggar’s Opera introduced America to musicals. Julian Mates points out that it was the imported English ballad operas and broadsides that dominated the stage through Colonial and Federal times. It was not until the days of Jacksonian expansion that American music truly came into its own. In the eighteenth century, the distinction between light and serious music became blurred and both historical and literary sources were often used as a basis for musicals and ballad operas. The simple beauty of a ballad opera is the use of popular tunes as a basis for a song cycle. The reasoning is that if you change the lyrics to a recognizable, well-liked song, you are almost assured to have a hit song. It made good business sense to take an already popular tune and utilize it for more entertainment and profit. Ballad opera also incorporated a touch of commedia dell’ arte, with stock characters, convoluted subplots and satirization of the upper class. While the ballad opera had its origin in England and fell out of favor there within a couple of decades, its popularity continued in America for quite some time. As the role of the individual composer became more important, in the second half of the eighteenth century, comic opera began to replace ballad opera as a theatre mainstay. Here, the music is more complex and more integral to the plot. A musical style known as pastiche, or pasticcio, evolved as a sort of intermediate stage between the two. As the name implies, the tunes here were often ―borrowed‖ as they were in ballad opera, the difference being that the songs were more sophisticated and more closely related to the storyline than in ballad opera. In comic opera, a single composer composes music for a specific play. Still, many of these originated in England, although there were a considerable number of American composers and lyricists working with very American subjects. Two of the first to successfully do so were lyricist James Nelson Barker and composer John Bray, with their adaptation of the Pocahontas and John Smith love story. Kingman points out that this production reversed the trend, with The Indian Princess becoming the first musical play to cross the Atlantic the other way and become a (pirated) success on the London stage. The spirit of commedia dell’ arte survived in pantomime, which included musical accompaniment written for stage movement and speech. Here, stock characters such as Harlequin and Columbine improvised, as well as performed set pieces to, ―action music.‖ The use of wordless music, or melodrama, was another stage of a trend seen in The Indian Princess, and continuing into the silent film days. Melodrama was evident in the circus, to enhance the excitement of the performances, as well as in olios. Olios were rather hodge-podge affairs, featuring recitations, duets, musical burlesque, and instrumentals. Basically variety shows, olios helped usher in minstrel shows and revues, as well as serving as an early template for vaudeville’s success. Blackface Minstrelsy 3 The blackface minstrel show, while an indigenous American musical form, had its roots in foreign soil. At the heart of minstrelsy was human fascination with what has now become known as ―the other.‖ Racial stereotypes were nothing new in theatre, with Irish and Scottish characters being well represented on the American stage. Yet Crawford claims that neither institutionalized racism nor the appropriation of black artistry can fully explain the enormous significance of minstrelsy in its day. Rather, it was often the social satire presented by blackface minstrels that appealed to white audiences.
Load more

Recommended publications
  • “America” on Nineteenth-Century Stages; Or, Jonathan in England and Jonathan at Home
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt PLAYING “AMERICA” ON NINETEENTH-CENTURY STAGES; OR, JONATHAN IN ENGLAND AND JONATHAN AT HOME by Maura L. Jortner BA, Franciscan University, 1993 MA, Xavier University, 1998 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by It was defended on December 6, 2005 and approved by Heather Nathans, Ph.D., University of Maryland Kathleen George, Ph.D., Theatre Arts Attilio Favorini, Ph.D., Theatre Arts Dissertation Advisor: Bruce McConachie, Ph.D., Theatre Arts ii Copyright © by Maura L. Jortner 2005 iii PLAYING “AMERICA” ON NINETEENTH-CENTURY STAGES; OR, JONATHAN IN ENGLAND AND JONATHAN AT HOME Maura L. Jortner, PhD University of Pittsburgh, 2005 This dissertation, prepared towards the completion of a Ph.D. in Theatre and Performance Studies at the University of Pittsburgh, examines “Yankee Theatre” in America and London through a post-colonial lens from 1787 to 1855. Actors under consideration include: Charles Mathews, James Hackett, George Hill, Danforth Marble and Joshua Silsbee. These actors were selected due to their status as iconic performers in “Yankee Theatre.” The Post-Revolutionary period in America was filled with questions of national identity. Much of American culture came directly from England. American citizens read English books, studied English texts in school, and watched English theatre. They were inundated with English culture and unsure of what their own civilization might look like.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • The Cruelty of Jim Crow Segregation
    Elementary School | Grades 3–5 THE CRUELTY OF JIM CROW SEGREGATION ESSENTIAL QUESTION What was Jim Crow and what was life under it like for Black Americans? OBJECTIVES Students will: → Define stereotype and explain the negative effects of stereotypes on individuals and society. → Examine the origins of Jim Crow and associated anti-Black stereotypes. → Analyze primary sources demonstrating ways in which Black people were segregated during the Jim Crow era. → Discuss ways in which Black people resisted discrimination and worked to end Jim Crow segregation. → Compose a written reflection on the impact of those who struggled to end segregation. LEARNING STANDARDS See the standards alignment chart to learn how this lesson supports New Jersey State Standards. TIME NEEDED 60 minutes MATERIALS → Who Was Jim Crow? handout (one copy to project) → Jim Crow Gallery handout (one copy per small group) → Where Did Jim Crow Segregation Take Place? handout (one copy to project) VOCABULARY activist generalization segregate/ sit-in segregation blackface Jim Crow stereotype “separate but civil rights minstrel show equal” 4 Procedures 3 NOTE While Jim Crow was most prevalent and deeply rooted in the South, segregation was a national problem. Segregation actually existed earlier in the North than in the South, for example on the Massachusetts Eastern Railroad in the 1830s. In the 20th century, federal and local policies led to segregation in public housing and schools throughout the country, and “whites only” policies were enforced in many northern shops, theaters, hotels and restaurants. "Sundown towns'' were common in both the North and South, excluding Black people through discriminatory laws, intimidation and signposts literally requiring "colored people" to leave by sundown.
    [Show full text]
  • Passing for Black: Coon Songs and the Performance of Race Patricia R
    Ursinus College Digital Commons @ Ursinus College English Faculty Publications English Department 6-9-2010 Passing for Black: Coon Songs and the Performance of Race Patricia R. Schroeder Ursinus College Follow this and additional works at: https://digitalcommons.ursinus.edu/english_fac Part of the African American Studies Commons, American Studies Commons, Ethnomusicology Commons, Music Performance Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Schroeder, Patricia R., "Passing for Black: Coon Songs and the Performance of Race" (2010). English Faculty Publications. 4. https://digitalcommons.ursinus.edu/english_fac/4 This Article is brought to you for free and open access by the English Department at Digital Commons @ Ursinus College. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 1 Passing for Black: Coon Songs and the Performance of Race Until recently, scholars exploring blackface minstrelsy or the accompanying “coon song craze” of the 1890s have felt the need to apologize, either for the demeaning stereotypes of African Americans embedded in the art forms or for their own interest in studying the phenomena. Robert Toll, one of the first critics to examine minstrelsy seriously, was so appalled by its inherent racism that he focused his 1974 work primarily on debunking the stereotypes; Sam Dennison, another pioneer, did likewise with coon songs. Richard Martin and David Wondrich claim of minstrelsy that “the roots of every strain of American music—ragtime, jazz, the blues, country music, soul, rock and roll, even hip-hop—reach down through its reeking soil” (5).
    [Show full text]
  • Ashton Patriotic Sublime.5.Pdf (9.823Mb)
    commercial spaces like theaters, and to performances spanning the gamut from the solemn, to the joyous. This diversity encompassed celebrations outside the expected calendar of national days. Patriotic sentiment was even a key feature of events celebrating the economic and commercial expansion of the new nation. The commemorative celebration for the laying of the foundation-stone of the Baltimore & Ohio Railroad, the “great national work which is intended and calculated to cement more strongly the union of the Eastern and the Western States,” took place on July 4, 1828.1 It beautifully illustrated the musical ties that bound different spaces together – in this case a parade route, a temporary outdoor civic space, and the permanent space of the Holliday Street Theatre. Organizers chose July Fourth for the event, wishing to signal civic pride and affective patriotism. Baltimore filled with visitors in the days before the celebration, so that on the morning of the Fourth the “immense throng of spectators…filled every window in Baltimore-street, and the pavement below….fifty thousand spectators, at least, must have been present.” The parade was massive and incorporated a great diversity of groups, including “bands of music, trades, and other bodies.” One focal point was a huge model, “completely rigged,” of a naval vessel, the “Union,” complete with uniformed sailors. Bands playing patriotic tunes were interspersed amongst the nationalist imagery on display: militia uniforms, banners emblazoned with patriotic verse, national flags, eagle figures, shields, and more. Charles Carrollton, one of the last surviving signers of the Declaration of Independence, gave the main public address at the site, accompanied by a march composed for the occasion, the “Carrollton March” (see Figure 2.4).
    [Show full text]
  • Let Us Sing As We Go: Votes for Women
    Let Us Sing As We Go, Votes for Women! title from Suffrage Song, 1915, words by James Weber Linn, music by Eleanor Smith Songs The Suffragists Sang: A Compilation Of Suffrage Lyrics To Commonly Known Tunes Come Vote, Ladies! tune: Good-night, Ladies! Come vote, ladies; come vote ladies; come vote, ladies; The civic call obey. Gladly we will cast a vote, cast a vote, cast a vote, Gladly we will cast a vote On Election Day! words: Eugénie M. Rayé-Smith, 1912; S-1912-3(A) A Suffrage Songster for Group Singing Compiled by Steve Woodbury [email protected] Edition 1.1, January 2020 The lyrics in this collection are all in the public domain. The collection is copyright © 2019 by Steven Woodbury. Permission is granted to reproduce it for group singing and for educational purposes, but not for sale (beyond printing costs). I look forward to hearing from users about when and where and how you have used this collection. Let’s get people singing these songs again! 1 Rights of Woman Why should a Woman lie tune: God Save America In base obscurity, (America) Her talents hid, Her providence assign’d GOD save each Female’s right, Her soul to be confin’d, Show to her ravish’d sight Is not her gentle mind Woman is Free; By virtue led? Let Freedom’s voice prevail, And draw aside the veil, With this engaging charm, Supreme Effulgence hail, Where is so much the harm Sweet liberty. For her to stand. To join the grand applause Man boasts the noble cause, Of truth and equal laws, Nor yields supine to laws, Or lend the noble cause, Tyrants ordain; Her feeble hand.
    [Show full text]
  • MS Choral Presentation FINAL
    Middle School Choral Pedagogy & Reading Session by Dr. Mirna Y. Cabrera [email protected] Beautiful Tone • Developing a beautiful choral sound takes time. • Start with head voice, descending 5-note pentachord. • Unify ensemble sound to attain tuneful singing, using free and open vowels from all singers. o Use pure vowel sounds. • Unify a) vowels, b) volume, c) vibrato (if present). In-tune singing principles • Identify instances when notes are most likely to go out of tune: o a) repeated notes o b) sustained notes o c) descending patterns. • Practice with a UNISON a cappella piece learned by rote with text, then solfege by discovery, then score. Add ostinati as part singing and for tuning purposes. UNISON piece in solfege by rote, a cappella, then score. Add ostinati as part singing and for tuning purposes. Directing • “Follow me” – All things are prepared in live music performance; each performance is slightly different from previous or future ones. As directors, our duty is to create organic performances where we get to influence our groups’ musical interpretation. In order to avoid a carefully-prepared choreographed performance (in opposition to an organic one), teach singers to understand that our gestures are meaningful and must be learned to follow. • By preparing the following elements, among others, we can create beautiful and meaningful performances. o Breath o Entries o Cut-offs o Dynamics o Tempo changes o Character changes/transitions o Rhythmic subtleties • Ultimately, our personal musicianship will carry us as we lead our groups. o Establish tempo before starting a piece, by hearing it first in your head.
    [Show full text]
  • A History of Music in Old Mount Vernon, Ohio with Particular Attention to Woodward Hall and the Nineteenth-Century American Opera House
    A HISTORY OF MUSIC IN OLD MOUNT VERNON, OHIO WITH PARTICULAR ATTENTION TO WOODWARD HALL AND THE NINETEENTH-CENTURY AMERICAN OPERA HOUSE A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Elizabeth Bleecker McDaniel, B.A. ***** The Ohio State University 2003 Master's Examination Committee Approved by Dr. Graeme M. Boone, Adviser Dr. Charles M. Atkinson _________________________ Adviser Mr. Christopher R. Weait School of Music ABSTRACT During the antebellum period, the town of Mount Vernon, Ohio had a flourishing music scene that included performances by both local amateur societies and professional touring groups. When Woodward Hall, located on the top floor of a four-story commercial building, opened its doors to the public in 1851, it provided the town with its first dedicated theater. Newspaper items and other early sources show that the hall was a focus of public culture in the 1850s, hosting concerts, plays, lectures, and art exhibits as well as community activities including dances, church fundraisers, and school exhibitions. The early source materials for Mount Vernon, however, like those for many small towns, are lacunary, and especially so in the case of Woodward Hall. These shortcomings are compensated, to some extent, by materials relating to theaters of similar size and age in other towns, which offer points of comparison for the Woodward and prove it to be a typical mid-nineteenth-century American theater in some respects, and a distinctive one in others. Modern-day music histories have heretofore been silent on the subject of music and opera houses in small towns despite Oscar Sonneck’s call, some ninety years ago, for local music historiography as a necessary first step in creating a complete history of American music.
    [Show full text]
  • April 2021 New Releases
    April 2021 New Releases SEE PAGE 15 what’s featured exclusives inside PAGE 3 RUSH Releases Vinyl Available Immediately 79 Music [MUSIC] Vinyl 3 CD 11 ROY ORBISON - HEMINGWAY, A FILM BY JON ANDERSON - FEATURED RELEASES Video THE CAT CALLED DOMINO KEN BURNSAND LYNN OLIAS OF SUNHILLOW: 48 NOVICK. ORIGINAL 2 DISC EXPANDED & Film MUSIC FROM THE PBS REMASTERED DOCUMENTARY Films & Docs 50 MVD Distribution Independent Releases 78 Order Form 81 Deletions & Price Changes 84 THE FINAL COUNTDOWN DONNIE DARKO (UHD) ACTION U.S.A. 800.888.0486 (3-DISC LIMITED 203 Windsor Rd., Pottstown, PA 19464 EDITION/4K UHD+BLU- www.MVDb2b.com RAY+CD) WO FAT - KIM WILSON - SLY & ROBBIE - PSYCHEDELONAUT TAKE ME BACK RED HILLS ROAD DONNIE DARKO SEES THE LIGHT! The 2001 thriller DONNIE DARKO gets the UHD/4K treatment this month from Arrow Video, a 2-disc presentation that shines a crisp light on this star-studded film. Counting PATRICK SWAYZE and DREW BARRYMORE among its luminous cast, this first time on UHD DONNIE DARKO features the film and enough extras to keep you in the Darko for a long time! A lighter shade of dark is offered in the limited-edition steelbook of ELVIRA: MISTRESS OF THE DARK, a horror/comedy starring the horror hostess. Brand new artwork and an eye-popping Hi-Def presentation. Blue Underground rises again in the 4K department, with a Bluray/UHD/CD special of THE FINAL COUNTDOWN. The U.S.S. Nimitz is hurled back into time and can prevent the attack on Pearl Harbor! With this new UHD version, the KIRK DOUGLAS-led crew can see the enemy with crystal clarity! You will not believe your eyes when you witness the Animal Kingdom unleashed with two ‘Jaws with Claws’ horror movies from Severin Films, GRIZZLY and DAY OF THE ANIMALS.
    [Show full text]
  • The Great American Songbook in the Classical Voice Studio
    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
    [Show full text]
  • Copyright and the Moral Right: Is an American Marriage Possible?
    Vanderbilt Law Review Volume 38 Issue 1 Issue 1 - January 1985 Article 1 1-1985 Copyright and the Moral Right: Is an American Marriage Possible? Roberta R. Kwall Follow this and additional works at: https://scholarship.law.vanderbilt.edu/vlr Part of the Intellectual Property Law Commons, and the Privacy Law Commons Recommended Citation Roberta R. Kwall, Copyright and the Moral Right: Is an American Marriage Possible?, 38 Vanderbilt Law Review 1 (1985) Available at: https://scholarship.law.vanderbilt.edu/vlr/vol38/iss1/1 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Law Review by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. VANDERBILT LAW REVIEW VOLUME 38 JANUARY 1985 NUMBER 1 Copyright and the Moral Right: Is an American Marriage Possible?* Roberta Rosenthal Kwall** I. INTRODUCTION The 1976 Copyright Act (the 1976 Act) embodies the most ex- tensive reforms in the history of our nation's copyright laws.1 One * Copyright by Roberta Rosenthal Kwall and Vanderbilt Law Review. ** Assistant Professor of Law, DePaul University College of Law. A.B. 1977, Brown University; J.D. 1980, University of Pennsylvania Law School. The author wishes to thank Professors Paul Goldstein of Stanford University, Robert A. Gorman of the University of Pennsylvania, and Stephen A. Siegel of DePaul University College of Law for their helpful comments and suggestions on an earlier draft of this Article. Thanks also are due to Dean Elwin Griffith and DePaul University College of Law, whose summer research grant assisted in the preparation of this Article.
    [Show full text]
  • FRED ASTAIRE: Class, Execution, and Perfection Personified the Essay Offers a Retrospective of the Highlights of the Dancer’S Career
    FRED ASTAIRE: class, execution, and perfection personified The essay offers a retrospective of the highlights of the dancer’s career. In addition a financial report of Top Hat is included at the end of the essay. 8 pages long. Fred Astaire: class, execution, and perfection personified The year is 1935, when Top Hat was released and the industries of music, film and dance are at a peak like they’ve never been before. The reason for this is their combined effect; music provided the sound, dance visualised the music, and film provided a wide spread exposure and a financial outlet to feed the industry all the way down to the "clubs". The period from 1927-mid fifties saw an explosion of musical talents like no other era in history. Among these new talents were the not so new faces of Fred Astaire and Ginger Rogers as they had thrived on Broadway for many years before their film career. The peak of their nine-film career occurred with the release of Top Hat on September 6, 1935. To understand their success we must first understand the dynamics of both the music and film industry. Then we must look at Fred Astaire and his contribution to the Hollywood musicals. Only then will the understanding of Top Hat's historical context fall into place. Fred Astaire was fortunate to be part of an explosion of talent in both the film and music history that was caused by consistency. Consistency means that the artist of those days produced many films and recorded many songs each and every year.
    [Show full text]