There are multiple layers in this song and they are separated by different timbres and rhythms.  The timbres in this song include male and female voice, bells, percussion, piano, banjo, and string and brass instruments.  For example, the first layer is the only time the bells are heard.  The percussion is the accompaniment heard the most in this song because it keeps the steady pulse.  The piano is only heard when the melodies are sung except for one of the verses.  When the male soloists are either singing or speaking text, the banjo is heard.  The brass instruments accompany the piano and percussion on the last phrase of the song.  The speed of the layers is constantly changing.  The speed changes according to what the voices are doing; when text is spoken, there is a different rhythm than when the text is sung.  For example, in the beginning, there is a low rhythm because there is only spoken dialogue.  However, in the next layer, the female soloists sing a melody and the rhythm picks up.  When the male soloist sings a melody, there is a different rhythm because the banjo is heard.  When the female soloists sing melodies, the rhythm is slightly faster than when the male soloist is singing.  Furthermore, since the same melodies are repeated, the same rhythms are repeated as well.  This means that there are time motives because there are rhythmic patterns that repeat.  There is also syncopation heard.  This is evident when the female soloists are singing the melody at the same time as the male soloist is speaking; there are two different rhythms going on at the same time.

            Since the rhythm changes throughout the song, the meter also changes.  However, I think there is mostly a duple meter.  The tempo changes when the rhythm changes.  The percussion keeps the tempo; this is especially noticeable when the text is spoken.  There is harmonic character heard when the female soloists sing together.  For example, at the end when they sing, “I’ll say a prayer,” one soloist is singing an octave lower than the other one.  They are harmonizing because they are singing the same notes, but in different octaves.  There is swing heard only when the male soloist sings; the notes are sung on an uneven beat.  There are also dynamics heard.  Sometimes when certain notes are held longer than others, the soloist starts singing softly and then starts the crescendo so that the end of the word is louder than the beginning.

            Even though I have not seen this show before, I can make conclusions based hearing this song.  Throughout the show, Blacks are struggling to find their happiness.  They want to be freed from the control of white people.   I think this song reflects this idea of wanting more.  Nettie and Celie are saying that someday that will be happy, with the help of God.  They are hopeful because they have faith that life will work out for them even though they have to be separated.  This song is about dreaming of a better life, which helps them get through the hard times.  I think that the message in this song can be applied to society today.  People should be hopeful and have faith; that will help us get through the hard times.  The music help convey this message because certain phrases are repeated throughout the song, such as “I’ll say a prayer.”  These words are emphasized because they part of the melody that is repeated.

            Musically, this song has polyphony and polyrhythm.  The song begins with dialogue from Galinda and Elphaba.  Then there is a short bell ring to start the first layer of the song.  Galinda is the only female vocalist heard throughout the whole song.  Elphaba is heard, but she only has short dialogue.  The timbres include female voice, strings, brass and bells.  The song has a disjunct melody; this is especially heard when the word, “popular,” is sung.  The female voice has a lot of range throughout the song because there are big steps between some of the notes.  The melodic contour is most clearly heard when the melody is sung because that is where the voice has the most range.  When the main melody is sung, the instruments play staccato notes to accompany the voice.  The first time the melody is sung, the bells are heard playing staccato notes with the brass and string instruments.  The bells are also heard the third time the melody is sung.  There are repeated melodic motives because the same melodies are repeated throughout the song; both the melody that the female voice sings and the melodies that the accompaniment plays are repeated.  Short phrases are sung throughout the song.   However, some phrases are slightly longer than others because some notes held longer than others.  For example, one of the last layers has longer phrases because the notes are held longer; the rhythm slows down.

            There are polyrhythms because each timbre has their own rhythm.  These rhythms are repeated throughout the song.  For example, the same rhythm is played and sung each time the melody is heard.  The accompaniment starts with a slow rhythm and picks up when the melody is sung and the verses begin.  The rhythm that the instruments play depends on the vocalist.  When the vocalist sings short phrases, the rhythm is faster than when the vocalist draws out the phrases.  This also means that there are different speeds in each layer.  For example, the rhythm when the first verse is sung is much faster than towards the end when the soloist is singing “la la la…”.  The same timbres are not heard in every layer.  For example, the bells are heard the first time the melody is sung, but not the second time.  The bells are also not heard when most of the verses are sung.  When the rhythm is slows, only the string instruments are heard with the voice; when it picks up, there are more instruments heard.

            Most of this song has a duple meter.  The tempo changes when the rhythm changes; they affect each other.  They are not the same in every layer.  Swing is not present in this song.  Each word that is sung has its own note.  There is also spoken text, but it is limited.  There are time motives because certain rhythmic patterns repeat.  There are not many dynamics heard in this song.  Since there is only one female vocalist, there is no harmonic character in the vocals.

            I think this song reflects the meaning of the show because of the messages it presents.  Some of the lyrics clearly give specific messages that are integral to the show’s meaning. One example is “it’s all about popular!”  This expresses the idea that everyone should want to be popular.  Everyone should want to be the same.  Conformity is valued.  Another phrase, “it’s not about aptitude, it’s the way your viewed,” expresses this idea too.  It’s not about what you do, but how you do it.  It’s all in the act; if you act “popular,” then it doesn’t really matter what you do exactly.  This song emphasizes popularity, which represents conformity.  Everyone should be the same and the people that aren’t, should learn.  Conformity is good; difference is bad.

Sternfeld supports her thesis by first discussing musicals, such as Aida and The Producers, that appear on Broadway in megamusical style.  She then talks about the influence of 9/11/01.  After the attacks, there were a significantly less amount of people in the audiences of Broadway shows.  Over time, Broadway attendance starts to rebuild.  The chapter ends discussing new megamusicals, such as , Wicked, Hairspray and Mama Mia! just to name a few.  Some of the musicals are adaptions of fims, others are famous for their soundtracks.  However, they all come from the same idea, and that is the idea of the megamusical.

Larson uses pastiche in his music; there are recurring melodies and songs.  For example Seasons of Love  is sung at the beginning of Act II, but its melody is repeated throughout the show.  This stresses the idea of love and how it is important to show love and compassion.  Larson reveals a warm message in this show.

This is a good thesis because it explains that this chapter is going to talk about specifc changes and innovations that occurred regarding the style of the musicals.  While this chapter talks about specific musicals, it also generalizes when talking about Broadway in the 1990′s.  For example, first Sternfeld talks about Miss Saigon. She argues that Miss Saigon has all the features of a megamusical.  She also talks about composers such as Andrew Loyd Webber and Frank Wildhorn, who created these new megamusicals.  Sternfeld ends with discussed how Disney and Ragtime came to Broadway.  These new megamusicals had plots that were more realistic and there was more dialogue that in megamusicals in the past.  There was also a new team of composers, lyricists, directors and producers.  These are the ways in which musical theater advanced into the 21st century.

Les Mis debuted on Broadway in 1985.  This is the latest of the musicals we have watched so far.  The show reflects the idea of the megamusical- big entertainment.  A lot of money was put into making the show.  The audiences want big, elaborate sets and costumes and this is what directors want to give them.

Sternfeld supports this thesis by discussing various megamusicals and their impressions on the public.   On the other hand, some musicals, such as Blondel, was a commericial failure and never made it to Broadway.  Tim Rice’s Chess made it to Broadway, but only for 68 performances.  Starligh Express was a musical that was meant for kids.  In the ’90′s, it was revived and became the second-longst-ruming musical in London.  In addition, more musicals were created in the ’80′s and ’90′s, such as Sondhiem’s West Side Story and Cole Porter’s Anything Goes.  Dreamgirls also debuted in the early ’80′s. 

All of these musicals were influenced by the development of the megamusical.  Musicals in the coming decades would add new twists.  Even though there were changes that took place, the megamusical still stayed strong; it still exists today.

Sternfeld supports these points by talking about how the show started, including all the people who worked on the show before opening night in New York in 1988.  Andrew Lloyd Webber ajd Prince worked a lot on the show before it debuted on Broadway.  Furthermore, the score is discussed in great detail, including operatic features, opera scenes, and recuriing music.  The author mentions characteristics that are common in all dramas, such as assinged styles to different characters; each character has their own style.  Lastly, critic’ reviews of the show were compared.

She supports this thesis by discussing the musical from its debut on Broadway its influence in modern American society. The storyline and the music of the show is discussed first.  The author goes into detail about the themes and motifs that are expressed.  In the music, there are certain melodies and rhyhtms that are repeated.  This repetition is important because it makes dramatic and emotional links to the story.  The songs and their meanings are talked about at great length.  The author mentions what critics had to say about the musical.  Furthermore, the factors that made Les Mis a cultural phenomenon are discussed.