Andrew Lloyd Webber / Questions Area of Study C: / Musical Theatre

Total Page：16

File Type：pdf, Size：1020Kb

ANDREW LLOYD WEBBER / QUESTIONS AREA OF STUDY C: / MUSICAL THEATRE 2. You will hear an extract from a musical theatre song, the lyrics of which are written below. The extract will be played 3 times with a 45 second pause between each playing and a 2 minute silence after the final playing for you to complete your answer. You now have 30 seconds to read the questions. 1. Passing bells and sculpted angels, cold and monumental 2. seem for you the wrong companions, you were warm and gentle. (Four bar musical interlude) 3. Too many years fighting back tears 4. why can’t the past just die 5. Wishing you were somehow here again, 6. knowing we must say goodbye 7. try to forgive, teach me to live 8. give me the strength to try 9. no more memories, no more silent tears, 10. no more gazing across the wasted years 15 11. help me say goodbye ANDREW LLOYD WEBBER PG. 1 ANDREW LLOYD WEBBER / QUESTIONS AREA OF STUDY C: / MUSICAL THEATRE a. Underline the type of voice heard in the extract. [ 1 ] CONTRALTO | MEZZO-SOPRANO | SOPRANO b. Identify the time signature of the extract. [ 1 ] c. Tick one box which most accurately describes the cadence at the [ 1 ] start of line 9 of the extract Perfect cadence in a minor key Plagal cadence in a minor key Perfect cadence in a major key Plagal cadence in a minor key ANDREW LLOYD WEBBER PG. 2 ANDREW LLOYD WEBBER / QUESTIONS AREA OF STUDY C: / MUSICAL THEATRE d. Describe the vocal writing in the extract, refer to line numbers in [ 3 ] your answer. e. Describe the use of tonality in this extract. Refer to line numbers [ 3 ] and/or sections in your answer. f. Explain how the writing for the accompanying instruments [ 4 ] heard in the extract helps to add to the dramatic content of the song. Refer to line numbers in your answer. ANDREW LLOYD WEBBER PG. 3 ANDREW LLOYD WEBBER / QUESTIONS AREA OF STUDY C: / MUSICAL THEATRE g. Underline the composer of this extract from the list below and [ 2 ] suggest a suitable date of composition. i. ANDREW LLOYD WEBBER | STEPHEN SCHWARTZ | RICHARD RODGERS ii. Date of composition: ANDREW LLOYD WEBBER PG. 4.

Copy Link

Recommended publications

The New Sound Orchestra the Music of Richard Rodgers and Irving Berlin Mp3, Flac, Wma
The New Sound Orchestra The Music Of Richard Rodgers And Irving Berlin mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: The Music Of Richard Rodgers And Irving Berlin Country: Switzerland Released: 1972 Style: Easy Listening MP3 version RAR size: 1308 mb FLAC version RAR size: 1251 mb WMA version RAR size: 1839 mb Rating: 4.7 Votes: 874 Other Formats: VQF AA MP1 MPC ASF AHX AIFF Tracklist Richard Rogers A1 With A Song In My Heart A2 The Lady Is A Tramp A3 Blue Moon A4 Bewitched A5 Where Or When A6 My Funny Valentine A7 There Is A Small Hotel A8 I Didn't Know What Time It Was A9 If I Loved You A10 Blues From "Slaugther On Tenth Avenue" A11 It Might As Well Be Spring A12 Lover Irving Berlin A1 Easter Parade A2 Cheek To Cheek A3 Let's Face The Music And Dance A4 Isn't It A Lovely Day A5 Always A6 Play A Simple Melody A7 Blue Skies A8 Alexander's Ragtime Band A9 How Deep Is The Ocean A10 I've Got My Love To Keep Me Warm A11 The Girl That I Marry A12 They Say It's Wunderful Notes Made in Switzerland. Barcode and Other Identifiers Rights Society: BIEM Matrix / Runout (Label Side A): EL 363-A Matrix / Runout (Label Side B): EL 363-B Related Music albums to The Music Of Richard Rodgers And Irving Berlin by The New Sound Orchestra Claude Bolling - Joue Irving Berlin "I Love A Piano" Geraldo And His Orchestra - Dance, Dance, Dance! Vol.
[Show full text]
Rodgers & Hammerstein
Connect the Devon Energy Presents Dots to Find Lyric Theatre’s the Castle! CinderellaA Literary Tale Interactive Rodgers & Hammerstein The music of Cinderella was composed by Richard Rodgers. The lyrics to the songs and book (script) were written by Oscar Hammerstein II. Originally presented on television in 1957 starring Julie Andrews (pictured below), Rodgers and Hammerstein’s Cinderella was the most widely viewed program in the history of the medium. Andrews starred in many musicals and movies, such as The Sound of Music, Camelot, and The Princess Diaries. Music by Richard Rodgers Book & Lyrics by Oscar Hammerstein II After long and highly distinguished careers with Study Guide Recommended for Children of All Ages other writing partners, Richard Rodgers (composer, Lyric’s Cinderella - A Literary Tale Interactive is a thrilling program 1902-1979) and Oscar Hammerstein II (librettist/ offering an original take on a familiar story. You will visit with favorite lyricist, 1895-1960), also known as R&H, joined characters: the gracious Cinderella, the charming Prince, and the forces in 1943 to create the most consistently fruitful evil Stepsisters. Through the music and dialogue of Rodgers and and successful partnership in the American musical Hammerstein, you will learn fun and important literary terms and theatre. Oklahoma!, the first Rodgers & Hammerstein concepts. musical, was also the first of a new genre, the musical play! Other R&H Musicals You May Know: Carousel, South Pacific, The King and I,and The Sound of Music Carolyn Watson THE Wilshire Rural Oklahoma McGee Charitable Source: www.rnh.com Community Foundation FOUNDATION Foundation LYRIC IS OKLAHOMA’S LEADING PROFESSIONAL THEATRE COMPANY and Seek & has been producing classic and contemporary musicals featuring both nationally Literature Plot Diagram known Broadway stars and local favorites for over 50 years.
[Show full text]
Read Book Just for the Record
JUST FOR THE RECORD PDF, EPUB, EBOOK Geri Halliwell | 320 pages | 01 Nov 2003 | Ebury Publishing | 9780091888046 | English | London, United Kingdom Just For The Record PDF Book Jeff Randall Kenneth Cope When the Sun Comes Out. Pargiter Olivia Hamnett Ager Arlen Koehler Yellen. Barbra Streisand feat: Don Rickles. The Barbra Streisand Album , Marty Hopkirk Annette Andre Stoney End , Movies I have seen. Liner notes. Energetic Happy Hypnotic. DeSylva Lew Brown. Andre Mallot James Forrest Back to Broadway Halloween Movies for the Whole Family. Miss Marmelstein Harold Rome. Browne ultimately awarded the collection a grade of A- and called it a good representation of the singer's ability to "chang[e the] definition of pop" and "make mainstream adult pop that was strong, elegant, [and] even passionate". Another common usage of the idiom involves clarifying a person's motivation for saying something or engaging in a particular action. Rainy Day Relaxation Road Trip. Barbra Streisand feat: Judy Garland. The Broadway Album , Don't Rain on My Parade. Title: Just for the Record 15 Jan The Best Horror Movies on Netflix. Alternately, someone may use it to explain why he did something that appeared particularly unintelligent. I Can Do It. Other tracks were compiled from various live performances, TV specials, and previous albums from her back catalog. Warm All Over Frank Loesser. Lost Inside of You. My Honey's Lovin' Arms. Lorenz Hart Richard Rodgers. It includes 24 of the songs from Just for the Record The Moon and I. You're the Top Cole Porter. Cryin' Time. Add the first question.
[Show full text]
Catalogue of Photographs of Performers at the Embassy Theatre
Catalogue of Photographs of Performers and Shows in the Archives of the Embassy Theatre Foundation The archives of the Embassy Theatre Foundation hold more than 3000 artifacts, including more than 600 photographs of vaudevillians inscribed to Bud Berger (long-time stage man- ager at the Embassy Theatre, known as the Emboyd until 1952); more than 300 posters, playbills, programs, stools, and even guitars signed by the stars and casts of shows that have played at the Embassy Theatre over the past forty years, rang- ing from classic and current Broadway shows to acrobatic groups, choral ensembles, dance shows, ballet, stand-up comedians, rock bands, country singers, travel films, silent films, theatre organists, and so on; and hundreds of publicity photographs of performers, shows, and events at the theatre, primarily from the period following the establishment of the Embassy Theatre Foundation and its rescue of the theatre from the wrecking ball in 1975; and a nearly complete run of the journal of the American Theatre Organ Society. The archive is now almost fully catalogued and preserved in archival housing. Earlier excerpts from the catalogue (available on the Archives page of the Embassy Theatre’s web site) cover the photographs inscribed to Bud Berger and the posters, playbills, programs, stools, and so on from later shows at the Embassy. This is the third excerpt, covering the public- ity photographs of the last forty-five years and a few photographs of earlier events, Bud Berger, and other members of the stage crew. The publicity photographs are primarily of individ- ual performers, but a few shows are presented as well, including Ain’t Misbehavin’, Annie, Barnum, Bubbling Brown Sugar, Cabaret, California Suite, Cats, A Christ- mas Carol, Dancin’, Evita, Gypsy, I'm Getting My Act Together And Taking It On The Road, Joseph and the Amazing Technicolor Dreamcoat, Peter Pan, Same Time Next Year, Side by Side by Sondheim, and Ziegfeld: A Night at the Follies.
[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]
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
[Show full text]
Andrew Lloyd Webber's Musicals
MASARYK UNIVERSITY Faculty of Education Department of English Language and Literature ANDREW LLOYD WEBBER’S MUSICALS Diploma Thesis Brno 2009 Radka Adamová Supervisor: Mgr. Lucie Podroužková, PhD. 1 BIBLIOGRAPHICAL ENTRY Adamová, Radka. Andrew Lloyd Webber’s Musicals Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2007. Diploma thesis supervisor Mgr. Lucie Podroužková, Ph. D. ANNOTATION This diploma thesis deals with British musical composer Andrew Lloyd Webber and his works. The first part of the thesis introduces Lloyd Webber’s biography, his close collaborators as well as his production company the Really Useful Group and description of all his works. The main part of the thesis is aimed at his musicals Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar , rather their origin and development, the main plot and their main characters that have many things in common. Both these musicals are based on topics from the Bible. The thesis also deals with the librettos and their translation into Czech. ANOTACE Diplomová práce se zabývá britským hudebním skladatelem Andrew Lloyd Webberem a jeho díly. První část práce seznamuje s Lloyd Webberovým životopisem, jeho blízkými spolupracovníky, stejně jako s jeho produkční společností Really Useful Group a popisem všech jeho děl. Hlavní část práce je zaměřena na muzikály Josef a jeho úžasný pestrobarevný plášť a Jesus Christ Superstar , přesněji řečeno jejich vznik a vývoj, hlavní dějovou linii a jejich hlavní postavy, které mají mnoho společného. Oba tyto muzikály jsou založeny na příbězích z Bible. Práce se také zabýva librety obou muzikálů a jejich překladem do češtiny. 2 I declare that I have worked on this thesis on my own and used only the sources listed in the Bibliography.
[Show full text]
1999 Prince (I've Had) the Time of My Life Dirty Dancing 3 A.M
Title 1999 Prince (I've Had) the Time of My Life Dirty Dancing 3 a.m. Matchbox 20 A Lot of Lovin' to Do Charles Strouss Bye, Bye Birdie A Thousand Miles Vanessa Carlton A Whole New World Aladdin Aladdin A Wonderul Guy Rodgers & Hammerstein South Pacific All I Ask of You Andrew Lloyd Webber Phantom of the Opera Duet Another Suitcase in Another Hall Andrew Lloyd Webber Evita Anthem Chess Chess Anything You Can Do Irving Berlin Annie Get Your Gun Duet Apologize One Republic Bad Michael Jackson Bali Hai Rodgers & Hammerstein South Pacific Barnum (Complete Score) Cy Coleman Barnum Beautiful Christina Aguilera Beauty and the Beast Beauty and the Beast Beauty and the Beast Beauty School Dropout Grease Grease Beethoven Day You're a Good Man Charlie Brown You're a Good Man Charlie Brown Before I Gaze at You Again Lerner & Loewe Camelot Believe Cher Bennie & the Jets Elton John Best of Beyonce (Anthology) Beyonce Better Edward Kleban A Class Act Bewtiched Ella Fitzgerald Pal Joey Beyond the Sea Bobby Darin Black Coffee Ella Fitzgerald Blackbird The Beatles Blue Christmas Elvis Presley Blue Moon Elvis Presley Bohemian Rhapsody Queen Bombshell (music from SMASH) Marc Shaiman Bombshell Born this Way Lady Gaga Bosom Buddies Jerry Herman Mame Duet Both Sides Now Joni Mitchell Brand New You Jason Robert Brown 13, the Musical Breeze Off the River The Full Monty The Full Monty Bring Him Home Boublil & Schoenberg Les Miserables Bring On the Men Leslie Bricusse Jekyll & Hyde Broadway Baby Stephen Sondheim Follies Broadway, Here I Come Smash Smash Brown-Eyed
[Show full text]
Dear All: I Hope You Enjoyed Today's Talk on Richard Rodgers Without
Dear All: I hope you enjoyed today's talk on Richard Rodgers without Hammerstein. Really a wonderful composer who worked with two great lyricists. As promised, here are some links related to the talk, many of which we saw already (at least in excerpt form). Excellent interview (about 1/2 hour) with Rodgers in mid-1970s : https://www.youtube.com/watch?v=3afoA-cgfdE The clip of Rodgers and Hart composing a song from the 1929 movie "Makers of Melody" : https://www.youtube.com/watch?v=P027p95dE Here is the bit we saw introducing Manhattan from the movie "Words and Music"... https://www.youtube.com/watch?v=_jHwgfRGTq0 Lena Horne giving a spectacular performance of "The Lady is a Tramp" from the same movie: https://www.youtube.com/watch?v=BLwREAX4d2A Doris Day in “Ten Cents a Dance”: https://www.youtube.com/watch?v=rfUniuD-jsY Rosemary Clooney in "You Took Advantage of Me" (I love this melody!): https://www.youtube.com/watch?v=GjymmFWy6OY Here is Ella in "My Funny Valentine" (with lyrics) from a live performance -- https://www.youtube.com/ watch?v=OgDnLPPCvIQ Let me give you the uncensored version of "Bewitched" - pretty raunchy and cleaned up for most recordings after the Broadway show "Pal Joey" in 1940 -- Here is the original version with American opera singer Frederica von Stade as part of her great Rodgers and Hart album - - https://www.youtube.com/ watch?v=ZOPnEwdOqPQ. The show recording of the song is here from a 1952 revival - https://www.youtube.com/watch?v=G40fWgQEzbQ And here is the Madeline Kahn version we saw today..
[Show full text]
Broadway 1 a (1893-1927) BROADWAY and the AMERICAN DREAM
EPISODE ONE Give My Regards to Broadway 1 A (1893-1927) BROADWAY AND THE AMERICAN DREAM In the 1890s, immigrants from all over the world came to the great ports of America like New York City to seek their fortune and freedom. As they developed their own neighborhoods and ethnic enclaves, some of the new arrivals took advantage of the stage to offer ethnic comedy, dance and song to their fellow group members as a much-needed escape from the hardships of daily life. Gradually, the immigrants adopted the characteristics and values of their new country instead, and their performances reflected this assimilation. “Irving Berlin has no place in American music — he is American music.” —composer Jerome Kern My New York (excerpt) Every nation, it seems, Sailed across with their dreams To my New York. Every color and race Found a comfortable place In my New York. The Dutchmen bought Manhattan R Island for a flask of booze, E V L U C Then sold controlling interest to Irving Berlin was born Israel Baline in a small Russian village in the Irish and the Jews – 1888; in 1893 he emigrated to this country and settled in the Lower East Side of And what chance has a Jones New York City. He began his career as a street singer and later turned to With the Cohens and Malones songwriting. In 1912, he wrote the words and music to “Alexander’s Ragtime In my New York? Band,” the biggest hit of its day. Among other hits, he wrote “Oh, How I Hate to Get Up in the Morning,” “What’ll I Do?,” “There’s No Business Like —Irving Berlin, 1927 Show Business,” “Easter Parade,” and the patriotic “God Bless America,” in addition to shows like Annie Get Your Gun.
[Show full text]
QUINCY SYMPHONY CHORUS PROGRAM NOTES British Invasion ~ March 9, 2019 Dr
QUINCY SYMPHONY CHORUS PROGRAM NOTES British Invasion ~ March 9, 2019 Dr. Carol Mathieson Andrew Lloyd Webber relaunched musical theatre in the 1960’s in ways that welcomed electronic technology and rock music without allowing ephemeral fads to highjack well-crafted composition. And audiences responded, with younger aficionados swelling the general flock to the theatres. Tonight’s medley follows chronologically from earliest efforts with Tim Rice to turn Jesus Christ, Superstar— a scripture story recast in rock, produced as a concept album with basic plot, all the songs, and minimal dialog—into a stage show, opening in London’s West End. It was a mega-hit. Soon after came Evita about the Perón dictatorship in Argentina. Rice did not feel comfortable remolding established writing into lyrics, so for Cats, Lloyd Webber went directly to T.S. Eliot’s poetry. Song and Dance is a short musical play with lyrics by Don Black, paired with a short ballet with music Lloyd Webber wrote for his cellist brother Julien as variations on a Paganini caprice. However, Phantom of the Opera, with Charles Hart lyrics, was back to high drama. Phantom smashed attendance records in both London and New York, running for decades. Tonight’s medley opens and closes with songs from that iconic show. Nineteenth-century English musical theatre consisted of cheerful song and dance revues or badly translated, risqué French burlesques until Gilbert and Sullivan brought satirical, silly Savoy Operas to a family-friendly stage. QSC sings highlights from the first and the final masterpieces of these saviors of both the English and American musical stage.
[Show full text]
The ISA • International Songwriters Association
The ISA • International Songwriters Association ISA - The International Songwriters Association Limited, was founded in Limerick City, Ireland, in October 1967. Today, there are ISA Members in more than sixty countries worldwide, with the bulk of the membership in either the UK or the USA Members receive such ISA Publications as Songwriter Magazine, Songwriter Update, and Songwriter Newsflash. They may also access such free ISA Services as Song Copyright, Song Assessment, Advice and Directory Information. Members receive an ISA Members Package which includes the Songwriter Yearbook. They also have access to the ISA Private Members Site, which has hundreds of articles, interviews, back issues of all publications, a notice board, tip sheet, videos, directories, etc. The current Chairman of the International Songwriters Association is Jim Liddane, who is also the editor of "Songwriter Magazine" while the Director Of Membership for the ISA is Anna Sinden. A more detailed listing of what an ISA Member receives, is given below Members Receive Each of the Following Publications SONGWRITER YEARBOOK This is the collection of interviews which all new ISA subscribers receive. It is delivered by post. The current edition includes a 6,000 word interview with Roger Cook - who will tell you how in the UK, he wrote countless pop hits, before quitting England for Nashville where he proceeded to become one of the hottest country songwriters around! Gordon Lightfoot tells you about his songs which have been covered by everybody from Elvis Presley to Bob Dylan. You will learn from Barry Mason about his songs which have been recorded by such stars as Tom Jones.
[Show full text]