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Summary: Carousel Composition

15878
Veronica Kokas 
MUSI 730 - Gerber - Assignment #3 Resource Summary -  4.2.2017  Summary 
In this thesis, the author explores the compositional process of Rodgers and Hammerstein, in the formation of their 1945 musical, Carousel. Moschler analyzes various musical numbers contained in the score, such as “Soliloquy” and “If I Loved You”, and their relation to the plot. Additionally, the author provides historical background for each piece analyzed and includes information pertaining to drafting changes in the formation of each song’s final draft.  
The section of most importance to my research interest is the portion of the dissertation relating to “Soliloquy”; in this chapter, the author provides an introduction to the piece, as well as a musical analysis of the song. According to Moschler, there are three known drafts of “Soliloquy”, each with various nuances---however, each draft follows the two part structure that is common with most of the musical numbers in Carousel. In the first section, Billy boasts about his boy, Bill, and in the second section, Billy ponders the possibility of having a girl with Julie. A notable difference between the three drafts is a section that was added and then later removed from the piece, a twelve measure section in which Billy imagines himself boasting about his little girl to his drinking buddies. While melodically static, this section bridged the two sections contained within the second part of the piece, and there is no clear reason as to why this section was removed.  
Additionally, Moschler draws parallels to “Lonely Room” from Oklahoma!, arguing that the bass line and the unconventional chord progression present in the coda of “Soliloquy” bears resemblance to Jud Fry’s song. In each musical number, both characters sing a resolute coda after pondering their individual desires. In Oklahoma!, Jud Fry’s emotional climax reaches its peak in his determination to seek Laurey’s hand, as the music reflects this resolve in a B-minor chord with a C sharp suspension; in Carousel, Billy’s desperate determination is reflected in a sudden shift to B-flat major. 
 Sources 
Moschler draws on primary sources, such as interviews with musical theater scholars, and several editions of various scores and manuscripts. In addition, the author uses secondary sources such as biographies and surveys by musical theater scholars to support his claims. 
 

This page has paths:

  1. Literature Summaries & Research Abstracts Steven Gerber

This page has tags:

  1. Topic: Aesthetics Steven Gerber
  2. Topic: Genre/Form Steven Gerber
  3. Topic: Musical/Theatrical Features Steven Gerber
  4. Work: Carousel Steven Gerber
  5. Person: Rodgers, Richard Steven Gerber
  6. Topic: Successors Steven Gerber

Contents of this tag:

  1. Participant: Kokas, Veronica