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View: Oklahoma! and a Divided Nation Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 The Star-Spangled Consciousness: Musical Theatre Anthems of Unity and the PAllisonerf B.o Gibbesrmance of National Identity Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF FINE ARTS THE STAR-SPANGLED CONSCIOUSNESS: MUSICAL THEATRE ANTHEMS OF UNITY AND THE PERFORMANCE OF NATIONAL IDENTITY By ALLISON B. GIBBES A Dissertation submitted to the Department of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 Allison B. Gibbes defended this dissertation on April 10, 2019. The members of the supervisory committee were: Elizabeth A. Osborne Professor Directing Dissertation Nancy Rogers University Representative Mary Karen Dahl Committee Member Aaron C. Thomas Committee Member Stuart J. Hecht Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii Dedicated to the memory of John A. Degen iii ACKNOWLEDGMENTS First, I want to express my deepest appreciation and thanks to my advisor and chair Beth Osborne, for her wisdom, expertise, persistence, and patience. I am extremely grateful to have had her for a mentor both on this project and in the larger sense of scholarship, teaching, and life. This process has been difficult and often tedious, but always joyful, and I am so happy to have had the chance to work with Dr. Osborne. I would also like to thank my dissertation committee, Mary Karen Dahl, Stuart J. Hecht, Nancy Rogers, and Aaron C. Thomas. I have learned so much from each of them, through their courses, scholarship, feedback, and advice, and I feel privileged to have had the support of such a brilliant group of scholars. Dr. Dahl’s insight and advice over the course of this program has been invaluable, and I will always be thankful for our chats. Additionally, thank you to Patrick McKelvey for his work on the early days of my committee and for notes that I was still discovering and taking to heart a year later. I wish to thank my family, who supported me through many, many years of graduate school. I sincerely could not have made it through without their help. I appreciate their constant encouragement and reassurance, and the pride and interest they have expressed in everything I do. Thank you to the many friends and colleagues who have given their time and support over the years. There are too many to name, but I would like to recognize Samer Al-Saber, Deb Kochman, Tony Gunn, Jenna Tamisea-Elser, Elizabeth Sickerman, and Jeff Paden. And to my group chat: Shelby Lunderman, Marisa Andrews, Nick Richardson, and Sean Bartley, thank you for always being there when I needed a sounding board, an ear, or a voice of reason and especially: “thank you for being a friend!” iv TABLE OF CONTENTS List of Figures ............................................................................................................................... vii Abstract .......................................................................................................................................... ix 1. INTRODUCTION: THE STAR-SPANGLED CONSCIOUSNESS ..........................................1 Deconstructing the Star-Spangled Consciousness ......................................................................4 National Identity and the Formulation of the Outsider ...............................................................6 Musical Theatre and the Construction of National Identity ........................................................9 Approaching National Identity and the Musical Theatre Anthem ............................................14 A Road Map Through the Star-Spangled Consciousness .........................................................16 Coda: Why Anthems of Unity in Musical Theatre? .................................................................20 2. “OKLAHOMA”: MYTHOLOGY, AMERICANNESS, AND BELONGING TO THE LAND IN OKLAHOMA! ...........................................................................................................................22 Overview: Oklahoma! and a Divided Nation ...........................................................................25 Cultural Context: A Crisis of (National) Identity at Wartime ..................................................29 Dramaturgical Breakdown: Identifying “Furriners” in Oklahoma Territory ............................35 Musical Analysis: “Oklahoma” and the Musical Construction of American Essentialism ......43 Coda: A Musical of Mythical Proportions ................................................................................52 3. “MY TEXAS”: GIANT AND THE DECONSTRUCTION OF MYTHOS IN THE AMERICAN SOUTHWEST .........................................................................................................55 Overview: Everything’s Bigger in Texas .................................................................................57 Cultural Context: Don’t Mess with Texas ................................................................................60 Dramaturgical Breakdown: The Line in the Sand .....................................................................68 Musical Analysis: Leslie’s Texas .............................................................................................74 Coda: Excessive Patriotism and Musical Intervention ............................................................85 4. “SOUTHERN DAYS”: THE SCOTTSBORO BOYS AND RESISTING THE NATIONALIST NARRATIVE ................................................................................................................................89 Overview: Repurposing History and Staging the Scottsboro Nine ...........................................91 Cultural Context: Blackness and Progress in American Racial Politics ...................................95 Dramaturgical Breakdown: Minstrelsy as a Liminal Space ....................................................103 Musical Analysis: Small Acts of Rebellion in an Anthem to the Antebellum South .............109 Coda: Making Audiences Uncomfortable ..............................................................................117 5. “ANOTHER NATIONAL ANTHEM”: REINVENTING THE OUTSIDER IN ASSASSINS ...................................................................................................................................121 Overview: Assembling a Fragmented History ........................................................................122 Cultural Context: The Voice of the People .............................................................................127 v Dramaturgical Breakdown: The Assassination of Popular Memory ......................................132 Musical Analysis: The March of the Assassins .....................................................................140 Coda: Neurology and Musicalizing a National Tragedy .........................................................148 6. OUTRO: MUSIC AND POPULAR MEMORY ....................................................................153 Bibliography ...............................................................................................................................157 Biographical Sketch .....................................................................................................................167 vi LIST OF FIGURES 1 “Oklahoma,” measures 1-16 from the score of Oklahoma! .....................................................46 2 “Oklahoma,” measures 166-173 from the score of Oklahoma! ...............................................49 3 “Oklahoma,” measures 41-45 from the score of Oklahoma! ...................................................50 4 “Your Texas,” measures 3-6 from the piano/vocal score of Giant. .........................................76 5 “Your Texas,” measures 17-22 from the piano/vocal score of Giant. .....................................77 6 “Your Texas,” measures 37-41 from the piano/vocal score of Giant. .....................................78 7 “My Texas,” measures 49-54 from the piano/vocal score of Giant. .......................................81 8 “My Texas,” measures 117-120 from the piano/vocal score of Giant. ...................................82 9 “My Texas,” measures 126-129 from the piano/vocal score of Giant. ...................................83 10 “Your Texas,” measures 20-22 from the piano/vocal score of Giant. .....................................84 11 “Your Texas (reprise),” measures 143-145 from the piano/vocal score of Giant. ..................85 12 “Southern Days,” measures 1-5 from the piano score of The Scottsboro Boys. ....................112 13 “Southern Days,” measures 14-19 from the piano score of The Scottsboro Boys. ................114 14 “Southern Days,” measures 20-22 from the piano score of The Scottsboro Boys. ................114 15 “Southern Days,” measures 40-47 from the piano score of The Scottsboro Boys .................116 16 “Southern Days,” measures 48-51 from the piano score of The Scottsboro Boys .................116 17 “Southern Days,” measures 52-55 from the piano score of The Scottsboro Boys .................116 18 “Hail to the Chief” from the Assassins vocal score. ..............................................................143 19 “Another National Anthem,” measures 37-39 from the Assassins vocal score. ....................144
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