Interpreting Musical Structure Through Choreography in Gershwin's
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University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-23-2019 Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris" Spencer Reese University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Reese, Spencer, "Music in Motion: Interpreting Musical Structure through Choreography in Gershwin’s "An American in Paris"" (2019). Doctoral Dissertations. 2172. https://opencommons.uconn.edu/dissertations/2172 Abstract Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Spencer Matthew Reese, D.M.A. University of Connecticut, 2019 This dissertation explores the relationship between the theoretic interpretation of music (through analysis of a score) and the kinesthetic interpretation of it (through dance). While compelling choreography often evokes the same expressive qualities as a score, music and dance each have expressive and structural components. This study looks beyond expressive unity to examine how formal elements of a musical score are embodied in a choreographic interpretation of it. George Gershwin’s now-iconic symphonic poem An American in Paris, while conceived as concert music, was almost immediately interpreted in dance onstage. It also inspired larger narrative works, including a film choreographed by Gene Kelly and a musical helmed by Christopher Wheeldon. When a score is written for dance, the logistical considerations of choreography likely influence the piece’s composition. But in the case of Paris, the structural details of the music itself have consistently given artists the impression that it is danceable. Gershwin’s life and musical style are examined, including his synthesis of popular and Western art music. This synthesis informs the way his music is both choreographed and analyzed. As such, a brief survey of existing theoretic literature is presented, followed by an Spencer Matthew Reese – University of Connecticut, 2019 original analysis of the score. Focus is given to the six thematic pillars of the score, which help to elucidate the piece’s large-scale form and create its programmatic implications. The art of choreography is built on the creative union of music and dance unfolding together in real time. Since the role of dance in plot development changed drastically during the twentieth century, this dissertation briefly surveys the relationship of dance and narrative on the American stage. This is followed by an identification of important music and dance terms for the benefit of the general reader. The final portion of the study examines key musical structures in Paris and considers how choreography clarifies, enhances, or even diverges from them. The six thematic pillars are analyzed as important structural highpoints in both the narrative and the musical-kinetic structure. The choreographies of Kelly and Wheeldon are compared to draw generalizations about the relationship between Gershwin’s music and its interpretation onstage. i Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Spencer Matthew Reese B.M., University of Connecticut, 2013 M.M., Eastman School of Music, 2015 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts at the University of Connecticut 2019 i Copyright by Spencer Matthew Reese 2019 ii Approval Page Doctor of Musical Arts Dissertation Music in Motion Interpreting Musical Structure through Choreography in Gershwin’s An American in Paris Presented by Spencer Matthew Reese, B.M., M.M. Co-Major Advisor: ______________________________ Dr. Constance Rock Co-Major Advisor: ______________________________ Dr. Peter Kaminsky Associate Advisor: ______________________________ Dr. Alain Frogley University of Connecticut 2019 iii Acknowledgements I am sincerely grateful to my advisory committee: Dr. Constance Rock, Dr. Peter Kaminsky, Dr. Alain Frogley, Dr. Angelina Gadeliya, and Professor Dale Rose, for embracing my interdisciplinary passions and empowering me to wear multiple ‘hats’ while developing this project. Thank you for your guidance, your energy, and your trust in me. To Dr. Rock, especially, thank you for helping me to find my voice (literally and metaphorically) in so many ways over the last decade! I am thankful for conductor David Andrews Rogers, whose invitation to join him in the pit of the An American in Paris national tour set this train in motion, and Todd Ellison, music supervisor for the Broadway production, who graciously shared unpublished research materials. I am constantly inspired by my incomparable GA comrades, Shelley Roberts and Lisa Williamson, who made every day at UConn more dynamic and exciting. I have also been sustained through this process by my wonderful students, whose unique worldviews and artistic voices consistently energize me to think big thoughts. I am (literally) moved by my mentors Sara Schilling and Evgueni Chaoulski, who have given my fidgety feet technique and artistry, and Steven Daigle, whose guidance consistently gives me the courage to recreate the world’s beauty onstage. Charlie Reese (PhDog, Worcester Polytechnic Institute) spent so much time by my side in the writing and editing process, that with the completion of this dissertation he earns his second honorary doctoral degree, a Dogtorate of Musical Arts. I would not be the man, scholar, or artist I am without the constant love and support of my extended family: Cathy, Bruce, Brian, Shannon, Bob, Debbie (the Godmother), my dear friends who have become honorary family (the Butlers, Luke and Katie Powers, Kennedy neighbors, and many others), and especially my forever triplets/Party Row: Tyler and Laurabeth. Finally, I am grateful beyond words for my parents… who whenever I say I want to fly have never asked why, but always how high? I dedicate this paper to you, and to all the dreamers who are just one plié away from taking flight. iv Table of Contents Introduction ..................................................................................................................................... 1 Chapter One: Gershwin, His Music, and An American in Paris .................................................... 4 An American in Paris ....................................................................................................... 6 An American in Paris on Film ....................................................................................... 12 An American in Paris Onstage ....................................................................................... 16 Chapter Two: Review of Literature .............................................................................................. 22 Chapter Three: Original Analysis of An American in Paris ......................................................... 33 Form Charts ................................................................................................................... 37 Keys, Cadences, and Harmonic Mobility ...................................................................... 51 Chromaticism and Planing ............................................................................................. 52 Sequence, Stretto, and Layering .................................................................................... 53 Orchestral Doubling ....................................................................................................... 54 Quick Ascent .................................................................................................................. 55 AAIP Transition/Crescendo ........................................................................................... 56 Themes and Motives as Narrative.................................................................................. 57 Chapter Four: Dance in Narrative Storytelling on the American Stage ....................................... 59 Introduction .................................................................................................................... 59 George Balanchine ......................................................................................................... 60 Agnes de Mille ............................................................................................................... 65 Jerome Robbins .............................................................................................................. 70 Gene Kelly ..................................................................................................................... 75 Christopher Wheeldon ................................................................................................... 80 v Chapter Five: Identification of Key Terms in Music and Dance .................................................. 84 Musical Concepts ........................................................................................................... 84 Dance Concepts ............................................................................................................. 89 Anne Bogart and Tina Landau’s Viewpoints ................................................................. 94 Chapter Six: Musical Structure and Gene Kelly’s Choreography ................................................ 97 First Walking Theme (First appearance) ....................................................................